Essay: Modules in Machine Modernism with Oneohtrix Point Never

Oneohtrix Point Never - R Plus Seven

Dummy essay giving my take on what might be going on in Oneohtrix Point Never's latest album R Plus Seven (click here to read). Includes thoughts on abstraction, modular composition, machine language vs human understanding.

If you have listened to 'R Plus Seven', make a list of ideas that R beautiful now that you have listened to 'R Plus Seven'. Here's mine: savannahs, stairwells, Mondrian, electric blue suits, cursors...

'Replica' was a mystery humanity may never solve, an ancient curse on the limbic system, a system of doorways leading only to other doorways. It managed to unify enormous godlike emotional forces and apparently inconsequential little sonic granules in some kind of fuck-me, Klein-bottle, infinite-Escher-ascent scenario...

This new album 'R Plus Seven' is so quizzical that it only barely interfaces with a human player on levels such as familiarity and emotionality. It cares nothing for your human need for unity. It cares nothing for your human hierarchy of musical signs. It cares nothing for your human categories of culture...

After a while, one can begin to sketch up a new cladogram. 'R Plus Seven' has several species of soft sounds (not as in quiet - woozy, hazy, pastel-coloured, rounded) and hard sounds (pinging, slamming, tinny, metallic). It is singular sounds (this note, that one, that pipette-blob of whatever it is) and multilicious sounds (bells, bunches, combinations, conglomerations). Organic sounds (human voices, water, was that a bird?) and non-organic sounds (for which only formulas can currently be given) - well, they're all both organic and non-organic and neither, really, 'R Plus Seven' makes it difficult to draw the lines. Discrete sounds (attacked, decayed, sustained and released into the silence) and continuous sounds (drones, breezes, atmosphères)...

The album might be what the computer that used to work for the Art of Noise does on its own time, an AI enthusiastically generating art, who once wouldn't admit to preferring modernism to postmodernism but now refuses to be ironic or ashamed of the so-called uncanny valley. 'R Plus Seven' wouldn't quite be the sort of thing to play to the tech-investors next time they come around, maybe we'll stick to 'Moments in Love' and 'Mary Had a Little Lamb,' but we'll keep it on diskette, maybe one day humanity will have ascended to the point where it can be grateful...