Thursday, July 11, 2013

Liking CFCF, not crazy about Oneohtrix Point Never

I've got a couple of electronic records in the listening pile this week, which is always an opportunity to sound like an idiot, but I'm really, really enjoying CFCF's Music For Objects and somewhat less enamored of Oneohtrix Point Never's R Plus Seven. So, with the caveat that I do not really have any expertise in this area, I thought I'd think a little about why.

First the CFCF, which is a wonderfully restless, pointillistic montage of piano and percussive sounds. All the tracks are inspired by inanimate objects (hence the title), so that "Glass" has a lovely, crystalline clarity, while "Bowl" is somehow denser, earthier and, not sure how to say this, but a rounded-ness. all the tracks are made (by CFCF's composer/producer Michael Silver) out of the same basic elements, computer sounds, piano and something that sounds like malleted percussion, like a marimba or such (though the sounds might be synthesized, no idea about that). So there's an overall texture, but also a lot of variation in the individual pieces, a sense of personality almost. I really like it a lot.

Here's "Camera," which is built, more or less, on a not-quite-real-life sax-like sound suggests. I'm not sure what it has to do with a camera, but it's got quite a nice sense of slink and syncopation to it.

Oneohtrix Point Never's R Plus Seven is supposedly not intended as songs, but rather sonic material for an upcoming album. Which is maybe the problem. It's not that the individual sounds aren't intriguing, there's just no impetus to move from one to another. I think that Daniel Lopatin should have kept this private, maybe, and shared the finished material with us later.

What do you think?

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