Dan Lopatin’s Oneohtrix Point Never makes music that is unmistakably electronic.
His appearance at Toronto’s The Hoxton on Friday night was observed by a sold-out congregation, many stroking their chins, some enraptured by varying states of chemical bliss. I even witnessed one meticulously floppy hatted male aurally recording every nuance to his mobile.
Speaking of sounds, what ensued on stage can only best be described as metal machine music. Oppressive, rattling, and sometimes strangely melodic.
With a set primarily comprised of 2015’s critically lauded Garden of Delete, Lopatin wasn’t one to shy away from setting a frenetic mood. Elements of EDM were enmeshed with harsh noise and guitar flourishes echoing nu-metal noodling, credit to guitarist Nate Boyce.
Lopatin’s recent supporting slot with Nine Inch Nails seems to have rubbed off on him. No longer a lone sound sculptor, Oneohtrix Point Never’s incorporation of guitars has pushed their strong sonics past the bevvy of laptops and hanging flat-screens.
Thematic to the burst of beats incessant to the evening, Lopatin found time to even employ the effects of a vocoder, speaking to the crowd in an indiscernible static tone, coming off less like 1970’s Peter Frampton and more akin to a malevolent robot.
As night grew later, the crowd grew smaller. Speculation submits that Lopatin’s cold, pounding digitalism may have got the best of some. Perhaps others were seeking fresh air from their inevitable comedowns. As for myself, I weathered the unworldly cyborg music. I’d never seen or heard anything quite like it before.
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Review and Photos by Myles Herod |