Oneohtrix Point Never - Good Time OST

He's got a beautiful new remix of Ryuichi Sakamoto out now.

 

 

I believe it's a cover of this if I'm not mistaken, which is also used for an awesome Miyazaki style animation.

 

https://www.youtube.com/watch?v=KeX4V90A4D4

 

looking forward to this new OPN

 

very much so

Edited July 28, 2017 by beerwolf

So this is out now. Sounds pretty good.

Ugh, gotta wait til midnight before I download it. Will be waiting!

Good stuff! A quieter OPN album, Rifts-era sounds but with his recent approach to melodies and song writing. Look forward to revisiting it often.

Yep, I'm liking it. Makes me wanna see the film even more.

https://amp.reddit.com/r/indieheads/comments/6twk48/i_am_musician_oneohtrix_point_never_currently/

  On 8/16/2017 at 12:28 AM, psn said:

https://amp.reddit.com/r/indieheads/comments/6twk48/i_am_musician_oneohtrix_point_never_currently/

  Quote

Q: How did you make the vocal sounds on R Plus 7?

A: i made them  by layering a lot of different voices, and morphing them into eachother too. i tried to tell a history of the synthesized vocal patch on RP7. if that makes any sense. from formant synthesis thru the modern day rompler

interesting.

Just got the Japanese edition. There's a bonus track - The Beatdown

  On 8/16/2017 at 1:35 AM, Salvatorin said:

 

  On 8/16/2017 at 12:28 AM, psn said:

https://amp.reddit.com/r/indieheads/comments/6twk48/i_am_musician_oneohtrix_point_never_currently/

  Quote

Q: How did you make the vocal sounds on R Plus 7?

A: i made them  by layering a lot of different voices, and morphing them into eachother too. i tried to tell a history of the synthesized vocal patch on RP7. if that makes any sense. from formant synthesis thru the modern day rompler

interesting.

 

 

https://www.plogue.com/products/chipspeech/

 

 

Saw the film today and the score was primal. Planning to order it tonight.

On a side note, the Safdie brother's know good music. Their previous movie Heaven Knows What, featured Tomita's Debussy renditions. It was amazing as well!

mmh... i enjoyed pretty much all his releases so far, but this feels a bit thin to me (on first and second listen, that is).

not bad but strangely predictable...

i find it very effect-heavy, but not in a good way - a lot it is drowned in reverb and delay and keeps panning around for more or less its own sake with pretty 

standard soundscape-arpeggio-swoooshy stuff compositionwise. the iggy song being somewhat of a pleasant exception.

might work with the movie though...

this reminds me heavily of the deus ex soundtrack, which is a very good thing

It goes really well with the film's aesthetic, neon lights and jittery pacing etc.

I got tired of this really quickly. I actually forgot it was even OPN after half way through. Very underwhelming. Not quite sure why it picked up an award. It seems like OPN can do no wrong. He's just picking up critical acclaim for everything he does. I do feel he gets a free-pass these days. Having said that, his back catalogue is awesome.

 

The OST for Good Time feels phoned in. I wish the music press would just be honest. 

Connie is used really well in the flick too.

  On 8/25/2017 at 3:38 PM, modey said:

this reminds me heavily of the deus ex soundtrack, which is a very good thing

 

one track, "flashback" I think, reminded me of the Mechwarrior 2 OST which is circa 1995. Wasn't blown away by this album but I like what he was going for in terms of instrumentation and vibe

 

  On 8/25/2017 at 11:38 PM, fumi said:

I got tired of this really quickly. I actually forgot it was even OPN after half way through. Very underwhelming. Not quite sure why it picked up an award. It seems like OPN can do no wrong. He's just picking up critical acclaim for everything he does. I do feel he gets a free-pass these days. Having said that, his back catalogue is awesome.

 

The OST for Good Time feels phoned in. I wish the music press would just be honest. 

 

 

It'll arrive I'm sure, assuming he does end up just stalling out style wise. Arcade Fire finally got a 5.5 from pfork. There is this very strange enviroment I see in some online forums/comment sections/etc. where people are shocked if something the like isn't being lauded with 9/10s, BNM, etc. Like on indieheads subreddit someone was like "how is this new War On Drugs album getting an average of 78 on metacritic!? ITS SOOO GOOD" and I didn't reply but I'm laughing at my computer thinking "1. because it probably sounds like their last album 2. good or not it's still 70s FM rock revival 3. it probably a C+/B- album objectively. 4. ITS OK TO LOVE ALBUMS THAT THE MUSIC PRESS DIDN'T LIKE! C'mon isn't that a major music fandom moment - realizing an album you cherish was ignored or derided. Shit's a badge of honor.

 

anyway...

 

I don't think I'll listen to it again unless I see the movie, which does look a bit intriguing, and I feel like returning to it. as xxx said it's really not super engaging until the last 10-15 minutes, handful of memorable tracks but otherwise decent background OST stuff. It's often hard to contextualize instrumental OSTs without actually seeing the film though.

Let's face it, OPN is a pretty hamfisted producer, but his music still has that essence to it. Perked right up when I heard the pure and the damned in the theater preview

I enjoyed the movie, bleak as it was, and I enjoyed the soundtrack in context of the movie. I see how it would be weak on its own (although that was my first time hearing it) but it really drove the momentum along and added to the atmosphere. It's worth noting that he lived in NYC and that's where this movie takes place so that might have added some authenticity to it. 

 

There was this cool sounding filter in all the scenes involving acid that was kind of distracting but it added to the glistening seediness.

  On 9/4/2017 at 4:36 AM, sweepstakes said:

I enjoyed the movie, bleak as it was, and I enjoyed the soundtrack in context of the movie. I see how it would be weak on its own (although that was my first time hearing it) but it really drove the momentum along and added to the atmosphere. It's worth noting that he lived in NYC and that's where this movie takes place so that might have added some authenticity to it. 

 

There was this cool sounding filter in all the scenes involving acid that was kind of distracting but it added to the glistening seediness.

 

As a longtime NYC resident I can say this soundtrack is a great fit for walking around in slightly sketchy neighborhoods in the boroughs. Even though he's from London, Burial was another one that totally captured that feel of urban decay in his first two albums.

  On 9/4/2017 at 7:31 PM, six said:

six, on 04 Sept 2017 - 10:31 AM, said:

 

  On 9/4/2017 at 4:36 AM, sweepstakes said:

sweepstakes, on 03 Sept 2017 - 7:36 PM, said:

I enjoyed the movie, bleak as it was, and I enjoyed the soundtrack in context of the movie. I see how it would be weak on its own (although that was my first time hearing it) but it really drove the momentum along and added to the atmosphere. It's worth noting that he lived in NYC and that's where this movie takes place so that might have added some authenticity to it.

 

There was this cool sounding filter in all the scenes involving acid that was kind of distracting but it added to the glistening seediness.

As a longtime NYC resident I can say this soundtrack is a great fit for walking around in slightly sketchy neighborhoods in the boroughs. Even though he's from London, Burial was another one that totally captured that feel of urban decay in his first two albums.

Excellent, thanks for confirming. I think that this kind of seediness is not unique to NYC but is maybe particularly prevalent there. I think this can also be felt in London and many other cities in the world, even Tokyo (especially Shinjuku - see Enter the Void). It even reminds me to a lesser degree of certain parts of my own little city at certain times of night.

 

The political/social aspect definitely felt like the central theme of the movie, expressed most overtly when a Pepe the Frog comic was used as blotter paper, but it mostly did not feel heavy-handed to me. I think Lopatin himself said it best in this interview:

  Quote

Connie is an unsuccessful criminal and an asshole and, to me, a sociopath. He exploits everyone he comes across. He exploits a lot of people who are already being exploited in all these other ways. That's an interesting thing about the side of New York that the Safdies are showing us; it's not really a romanticization of how hard New York is. The reality is that New York is hard because people are involved in all these levels of being reliant on this infrastructure that doesn't necessarily care about them, or protect them.

Edited September 4, 2017 by sweepstakes

i was just in bushwick and was walking to the L train at 1 am after going to bossa nova civic club, and i got approached by a guy walking in the middle of the street, asking to use my phone, just as desperate as R pat was. i dialed the number and put it on speaker and luckily made it away safely.

 

the sound track does a good job of capturing the fucking madness social entropy of nyc at night, but man, it's a pretty loud, obnoxious, and not very good sound track imo. plus the rolled the credits when iggy finally went on. there were funny moments where he was trying to do some kind of mark isham meets mark snow meets miami vice thing, and like, percussive reverby suspense bits. really funny stuff.

 

i honestly think r pat is a great actor. he's been in some good stuff. he was great in the Rover too.