Oneohtrix Point Never: Age Of (Warp) Review

Oneohtrix Point Never

Age Of

Warp

Jul 03, 2018 Web Exclusive By Michael Watkins

For an artist with a moniker as initially indecipherable as Oneohtrix Point Never, accessibility of both himself (real name Daniel Lopatin) and his music have never really been high priorities for the 35-year-old Massachusetts native. Until very recently, he occupied an exceptionally translucent space, obscured by the complex layers of music woven around him, that very occasionally allowed him the freedom to appear human. Much like label-mate Aphex Twin’s recent releases, Lopatin is most at home emerged in the intricacy of his work, well distant from any intervening voices or fellow humans. Or at least, so we thought.

Following his experiences in collaborating with ANOHNI on her groundbreaking debut solo record HOPELESSNESS—arguably the best album of 2016—Lopatin’s desire to collaborate had finally been ignited. Roping in production master James Blake, and utilizing the talents of Prurient, Eli Keszler, and the aforementioned ANOHNI, he has devised a record that certainly should feel warmer, more rounded, and more ultimately human. Somehow, though, amidst all of this collaborative energy, Age Of has emerged as one of Lopatin’s most subversive and inhuman efforts to date—a fact that is equal parts admirable and perplexing.

The shred of humanity that has always kept OPN albums from tipping too far to the side of complete disengagement feels somehow more distant than ever on this new record—despite the fact that Lopatin himself provides vocals to no less than four of the album’s 13 tracks. For those of us who have historically enjoyed the more industrial, scything moments found in his creations, Age Of will prove a welcome newcomer.

However, the thing that has made Garden of Delete, Returnal, R Plus Seven, and others before Age Of so extraordinary is that, among all of the technical wizardry and expertise, lies a resting pulse, so indelibly and undeniably human in origin, that certain roots and folk albums would struggle to compete. And, in doing away with this, despite the collaborative nature of the album’s creative process, Lopatin has built a wall between him and his audience like never before, at a time when a bridge would probably be a more welcome development. (www.pointnever.com)

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