Getting to the point that OPN is at, one may wonder where to go from here. Daniel Lopatin went the film scoring route, first working with Brian Reitzell on Sofia Coppola's The Bling Ring and now on The Safdie Brothers' Good Time. Oneohtrix Point Never always seemed like a good way to go to score a film and this excellent LP proves it.
If you told me that Daniel Lopatin was actually from another planet or dimension that wouldn’t surprise me a bit. The music he creates as Oneohtrix Point Never is otherworldly electronic in nature. It’s progressed from drone-y ambient on his debut Betrayed In The Octagon to the more deep space pop ambitions of 2015s Garden Of Delete. From building mystique and mood in his songs to the ghostly production that goes to help create the OPN worlds on each of his excellent albums, Lopatin is one of the most unique and original voices working in electronic music.
Getting to the point that OPN is at, one may wonder where to go from here. Daniel Lopatin went the film scoring route, first working with Brian Reitzell on Sofia Coppola’s The Bling Ring and now on The Safdie Brothers’ Good Time. Oneohtrix Point Never always seemed like a good way to go to score a film and this excellent LP proves it. It’s intense, propulsive, and one of the best albums of the year.
If you’re at all familiar with OPN, then you know sort of what to expect when hitting play. Lopatin’s film work doesn’t stray too far from his albums. Listening to albums like Replica and R Plus Seven it’s easy to imagine them scoring some imaginary film. Maybe some dystopian sci fi flick, or some hedonistic, neon-lit trek through a city night life. Good Time is sort of like the latter. It concentrates on two brothers, one of which has a learning disability and is caught by the cops after a robbery attempt. The other brother spends a night trying to locate the funds that would pay his brother’s bail. It seems to be one long panic attack, and Oneohtrix Point Never seems to have scored that attack beautifully.
There’s some great contrast throughout this LP. Something like “Hospital Escape/Access-A-Ride” is sleek and moves along like slow burning dread, while “Bail Bonds” starts with some of the film’s dialogue that begins to warp and melt into a propulsive synth. It dissolves into a distorted beat and what sounds like wavering guitar. “Entry To White Castle” has a Tangerine Dream/Michael Mann feel to it. There’s a real 80s vibe. “Romance Apocalypse” once again summons the great Tangerine Dream here, bringing to mind their work on Kathryn Bigelow’s Near Dark. “The Acid Hits” has the bizarro musical insanity brewing in it that Lopatin cooked up on his own excellent album Returnal.
Daniel Lopatin does what you’d hope he would do, and that’s make an excellent Oneohtrix Point Never record. He does that easily. I haven’t seen Good Time yet, but I can only imagine how well this record and the film work together. For me, though, the absolute highlight is the final track “The Pure And The Damned”. It’s a collaboration with Iggy Pop and it’s pure and weird and beautiful. It’s probably the most upfront song Lopatin has ever written. Pop gives one of his most earnest and honest performances in years. It’s a piano-driven song with lyrics that evoke such huge emotions and this child-like honesty that I think encapsulates the relationship between the brothers in the film. It’s hard to describe. It’s just beautiful.
Daniel Lopatin continues to explore and reinvent his musical alter ego known as Oneohtrix Point Never. His Good Time Soundtrack is one of the most engaging listens of the year; it’s dark, intimate, bombastic, and it beats wildly with an analog heart.