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Most of Oneohtrix Point Never's work has been pretty heavy on arpeggios and droning synths up until Garden of Delete, which became notably more intense and diverse in terms of sound and musicality. What was the catalyst that made Lopatin change this way and this much? It's nothing like any of his other projects.
What happened?
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It just seemed like the next way for him to go probably. How many more droning repetition pieces can he do?
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>>73917579
True, but I mean, there was definitely movement in his work, like incorporating obscure samples and things, but it wasn't anything like hardcore drums, guitar harmonics, vocals, spastic shifts in rhythms, etc. Just seems like a lot of energy came out in this record in a very different way than the ones previously.
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>>73917640
What he samples changes based on the concept of each record of his. Though the thing about the rhythms was already budding on Eccojams and Replica with his more erratic way of sampling, started to take off a bit on R+7 as well where certain sounds would get spastic but relatively restrained to the greater minimalist structure. I think GOD was just the next step to that.
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