The first third of ‘R Plus Seven’ veers so wildly between utterly disparate fragments of minute speech clippings, church organs and Steve Reich style texture and rhythm experiments that it’s difficult to know even when one track ends and another begins. But the oddest thing about Daniel Lopatin’s fourth album as Oneohtrix Point Never is not the sound shrapnel that coats it – indeed, the shock of his choppy technique is somewhat subdued here – but that amidst this dense fog of enjoyably high-concept circuit bending is two of 2013’s most glorious, not to mention accessible, electronic pieces.

After the bewildering introduction, ‘Zebra’ establishes itself with an effortlessly melancholic three-chord pattern, and over seven minutes Lopatin proceeds to chop at it, tweak it, distress and decompose it, adding Balearic sax samples, floatation-tank chanting and wind chimes until it almost buckles under its own gorgeous artificial nostalgia. Perhaps wisely, Lopatin inserts a 20-second silence after this centrepiece triumph, and the second half of the album settles into a slightly calmer incarnation of its opening, only to be trumped by closer ‘Chrome County’, with piano tinkles and melodic simplicity ripe for an Ibizan sunrise set.

It’s a contrary end to a contrary record – in hiding peaceful gems amid so much sonic crossfire, Lopatin has made perhaps his most curious move yet.


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