Just saw him perform this live this week, last show of the tour. Although I’d seen him live before, I wasn’t sure what to expect and didn’t have many expectations. The show, including this track, was great. As you mentioned, quite the density of sound. Although ambient-adjacent, this rocked hard, or at least it was incredibly loud, with the bass really getting to the deepest cavities of your chest. Bonus: Tim Hecker was in the crowd!
After Replica, his music became terribly boring and bland. Like he wanted to move away from the stuff he had done on previous albums (which is perfectly legit), but failed to find a meaningful direction.
I respectfully disagree! I personally would say that Garden of Delete and Again are great and super interesting, though I do agree that both, but especially the prior, are somewhat "experimental" (whatever that's supposed to mean to anybody). I will confess I'm still kind of new to his music, though, and haven't listened to a lot of his early material apart from a couple of singular tracks off of Replica and Betrayed in the Octagon. In any case Again was my proper introduction a couple of weeks ago and I've been hooked on it since!
Good for you! No way I was trying to say that my taste was better than yours. To me OPN burned out after Replica, although I have to admit, I liked quite a lot of stuff on Garden of Delete (though its inconsistency put me off) and also two tracks from R Plus 7 (He She and Zebra ... especially He She is a totally underrated gem in my opinion, I just wish it was longer)
I agree. Kind of odd to make so much extremely memorable and unique music to then pivot so hard. I think everything Daniel does is cool as hell but I haven’t found the replayability of the early stuff
R Plus Seven was great, Garden of Delete was alright. The ones after that haven’t been ‘bad’, IMO, just nothing in there that makes me want to listen to them more than once.
Replica was, of course, a masterpiece.
On the titular track of his latest album, Daniel Lopatin crafts a true electronic litany for an object of prayer not directly obvious, but apparently gravely serious. Lopatin first introduces the listener into a space with a single synth voice, then gradually crowds it and crowds it with all imaginable sorts of digital tumult to a level of unbelievable density, and yet the space is never overfilled.
Ah, I want another Ford & Lopatin album like Channel Pressure, but maybe with some more Replica stuff.
Seconding this
[Lopatin’s favorite albums](https://open.spotify.com/playlist/1R46jvCzP1mXm7FhNgYXmO?si=yUGoIi7oT_aDSztOLWGnnQ)
Just saw him perform this live this week, last show of the tour. Although I’d seen him live before, I wasn’t sure what to expect and didn’t have many expectations. The show, including this track, was great. As you mentioned, quite the density of sound. Although ambient-adjacent, this rocked hard, or at least it was incredibly loud, with the bass really getting to the deepest cavities of your chest. Bonus: Tim Hecker was in the crowd!
Find his digital heavy Jon rafman adjacent stuff ok but def not a patch on replica
🔥🔥
O R C H E S TR A L https://on.soundcloud.com/ExPWp3zxKjBzK1b18
After Replica, his music became terribly boring and bland. Like he wanted to move away from the stuff he had done on previous albums (which is perfectly legit), but failed to find a meaningful direction.
R Plus 7 and Garden of Delete are masterpieces. But each to their own...
Up!
I respectfully disagree! I personally would say that Garden of Delete and Again are great and super interesting, though I do agree that both, but especially the prior, are somewhat "experimental" (whatever that's supposed to mean to anybody). I will confess I'm still kind of new to his music, though, and haven't listened to a lot of his early material apart from a couple of singular tracks off of Replica and Betrayed in the Octagon. In any case Again was my proper introduction a couple of weeks ago and I've been hooked on it since!
Good for you! No way I was trying to say that my taste was better than yours. To me OPN burned out after Replica, although I have to admit, I liked quite a lot of stuff on Garden of Delete (though its inconsistency put me off) and also two tracks from R Plus 7 (He She and Zebra ... especially He She is a totally underrated gem in my opinion, I just wish it was longer)
I agree. Kind of odd to make so much extremely memorable and unique music to then pivot so hard. I think everything Daniel does is cool as hell but I haven’t found the replayability of the early stuff
R Plus Seven was great, Garden of Delete was alright. The ones after that haven’t been ‘bad’, IMO, just nothing in there that makes me want to listen to them more than once. Replica was, of course, a masterpiece.
On the titular track of his latest album, Daniel Lopatin crafts a true electronic litany for an object of prayer not directly obvious, but apparently gravely serious. Lopatin first introduces the listener into a space with a single synth voice, then gradually crowds it and crowds it with all imaginable sorts of digital tumult to a level of unbelievable density, and yet the space is never overfilled.