Passive/Aggressive

Oneohtrix Point Never – Seething out of the lost signal

Kritik June 19 2018 1127962-opn_6_dsc01917_3000jpg

Oneohtrix Point Never “Age Of” (Warp, 2018) – review by Mikkel Rørbo, photo: Blake Wood

If you search for Oneohtrix Point Never on your favorite search engine or hegemonic digital platform, you’ll be told that Daniel Lopatin has been at it for quite a while, “Age Of” is (approximately) the 10th studio album from his hand and it is put out on seminal electronic label Warp. He has been busy doing a number of collaborations recently as well as scoring the movie “Good Time”. It shows on “Age Of”. There is a cinematic, narrative quality here for sure – I will get to that – and a number of the collaborators feature on the album, notably ANOHNI, but furthermore with contributions from percussionist Eli Keszler, noise superstar Prurient, keyboardist Kelsey Lu and producer James Blake.

“Age Of” is undeniably a great, albeit complicated, pop album. In my opinion it is in fact the best material from Lopatin to date, in turns extremely satisfying and challenging. It is great music, but that’s not why you keep coming back, as I’m sure many familiar with his previous work will recognize. OPN as a project has always been meticulous and extremely self-conscious about its inner workings and reference points, to me at least this has always been part of its appeal, but on “Age Of” this has been pronounced to an extreme degree, made into a conceptual point in itself. His previous album, “Garden of Delete”, also followed a conceptual story, so this conceptuality is hardly new for Oneohtrix Point Never – and indeed “Age Of” and “Myriad”, his current touring ‘concertscape’, follow a rough sci-fi narrative of omniscient AIs that want nothing more than to be dumb as humanity currently is. Fun stuff. Læs resten

Chris Marker – Soundtrack til ét af filmhistoriens smukkest fortalte mareridt

Blog March 16 2016 La-Jetee-Chris-Marker

Af Simon Christensen

I 1962 udkom forfatteren, fotografen og filminstruktøren Chris Markers lille mesterværk af en ‘kort’ film, som i første omgang blev husket for sin på dette tidspunkt revolutionerende fortælleform. Den franske film “La Jetée” er 28 minutter lang og består primært af stillbilleder (den blev ved udgivelsen kaldt en fotoroman), hvorfor lydsiden på værket naturligvis har været et bærende element for historien. Og netop fordi “La Jetée” ikke er en konventionel filmfortælling, bliver soundtracket så meget desto mere tydeligt. Hvordan laver man et score til en science-fiction-film, som ikke engang har levende billeder?

I begyndelsen af 2016 blev soundtracket udgivet for første gang af San Francisco-pladeselskabet Superior Viaduct, som i øvrigt har udgivet en masse spændende soundtracks, experimental- og punk-reissues løbet af de sidste par år. Jeg gad godt skrive en længere ting om, hvordan vinylmarkedets boom (og heraf kommercielle muligheder) er med til at genopdage ukendte og vigtigere klassikere, men hvor bagsiden af medaljen er, at reissues dels gør det på bekostning af dårligere tilgængelighed og leveringstid for nye (ofte små) labels, dels gør det med opkøb af rettigheder med økonomisk gevinst for øje. Men det bliver en anden gang, hvor der er plads til at nuancere diskussionen. Tak til Superior Viaduct for at finde “La Jetée” frem fra gemmerne.

Både soundtracket og min tekst herunder indeholder af åbenlyse grunde spoilere for filmen. Læs resten