And to think, prior to 2009, almost nobody had any idea who this Oneohtrix Point Never character was. Who is this guy with the moderately nerdy sounding moniker releasing all this sweet, synthesizer-laced music — similarities abound between it and what I imagine the perfect soundtrack for space exploration must sound like? I suppose Replica (TMT Review) is somewhat of a different story in that regard, but Rifts (TMT Review) is the release that made a believer out of most of us.
Since that time, OPN has released two acclaimed albums, as well as started, alongside Joel Ford, the Software imprint on Mexican Summer. Likewise, as if his collaborating with ambient demigod Tim Hecker wasn’t indication enough of his ascendence, a split LP between him and Jeff Witscher’s Rene Hell project is due out September 17 in the UK, and September 18 in the US, via NNA Tapes.
Let’s not neglect Rene Hell either. The Terminal Symphony was up there as one of my favorite albums of 2011, and like OPN’s early work, it’s a wholly worthwhile flashback to electronic music of the 70s. The new split LP appears to take things in a slightly different direction, however.
Each side consists of five tracks. The OPN side, Music For Reliquary House, consists of “sonic reworkings” of the similarly-named audio/visual project between Lopatin and video artist Nate Boyce. Expect something similar to Replica. Meanwhile, Rene Hell’s contribution, In 1980 I Was A Blue Square, juxtaposes “mid 20th century classical music with chaotic electronic blasts.” You probably heard some of that on The Terminal Symphony.
The ultimate take-away? Two innovative figures in electronic music are appearing on the same LP together. Enough said.