Listened Magic Oneohtrix Point Never, by Oneohtrix Point Never from Oneohtrix Point Never

Daniel Lopatin has created another uncanny album. One moment you are dragged into the lush sounds that he brought to his production of The Weeknd’s album, then he moves the dial and disrupts things.

Magic Oneohtrix Point Never sounds like it’s constantly stuck between the dials. It’s fractured by design, but never anything less than compelling. Snippets of songs and samples filter in through an exceedingly pretty backdrop. It’s his most all-over-the-place album, but it’s also his smoothest. Lopatin has spent a decade refining his skills as a producer, and he’s able to rein in his music in a disorganized manner that feels relatively ordered. The aforementioned day-to-night cycle also helps with that, providing Lopatin some framework with which to delineate his ideas.

Bookmarked Behind the Music of ‘Uncut Gems’: How the Movie’s Score Was Made by Shirley Halperin (variety.com)

Underscore? Try overscore. The co-star of “Uncut Gems” is undoubtedly the film’s music. The result of a second collaboration between composer Daniel Lopatin, aka Oneohtrix Point Never, and director Josh Safdie, the cosmically synthesized score blends multiple Moog tones for a sonic identity to accompany Adam Sandler’s role as Manny.

There is something about Daniel Lopatin and his ability to break things down. He makes it feel all so obvious and simple, when the reality is probably something different. This is the same with his breakdown of Sticky Drama on Song Exploder.
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Ear candy: I have a lot of writing ahead of me, so I’ll soon be making my way through Pitchfork’s 50 Best Ambient Albums of All Time. An album missing from that list is Hiroshi Yoshimura’s Music for Nine Post Cards, which my friend Jez just wrote about. Another composer on that list I’m really into right now is Daniel Lopatin, aka Oneohtrix Point Never, who did the soundtrack for the recent Safdie Brothers film, Uncut Gems.

Thank you for the link to the interview with Daniel Lopatin. I too have been diving into the world of Oneohtrix Point Never.
I have been dividing into the music of Oneohtrix Point Never lately. I remember when I first heard his music I struggled to find an entry point. At the time, it was not for me, I was in a different space. I love electronic music, but what I heard at the time did not gel. Of late, I have returned with new context and new interest. I remember having similar experiences with the art of Vermeer until I appreciated the innovation and Jane Austen until I realised that there was something beyond the BBC adaptations. In part, this is why ratings can be problematic.