GOOD TIME: OST
Warp Records
Original Score, Progressive Electronic, Synthwave, Ambient.
Listening Format: CD & Digital.
NOTE: I have not seen the film yet, so I will be reviewing this from the perspective of a new Oneohtrix Point Never record.
Oneohtrix Point Never is the recording alias of American Electronic producer and composer Daniel Lopatin. The man is one of the most critically acclaimed Electronic musicians of the past 10 years, revered not only for his works as OPN, but under his own name. Lopatin is also credited to being the pioneer of the entire Vaporwave subgenre, after the release of his album 'Eccojams Vol. 1' under the alias Chuck Pearson. Oneohtrix Point Never's previous full length album 'Garden of Delete' earned widespread critical acclaim. Personally, I found it to be a real trip with excellent, distinct sounds, production and off the wall ideas, but the album completely lacked cohesion. It was a mess, but an enjoyable and intriguing mess. OPN's music has always been challenging and ADHD levels of crazy, full of versatile ideas and sounds. For this project, OPN has composed an original score for the 2017 film Good Time, which has already won the revered Palme d'or prize for best original soundtrack at the Cannes Film Festival.
'Good Time' very much puts Oneohtrix Point Never into soundtrack mode. Even his previous works have shown strong conceptual ideas and soundtrack influences, so this move into writing an original film score is completely natural and fitting. For most artists that venture into soundtrack work, it is usually a chance to deliver their wildest, and most experimental works yet. Film scores can tend to lack cohesion when listened to separated from the film itself, and one of OPN's biggest weaknesses (or perhaps a strength, depending on how you look at it), is a lack of cohesion, especially on some of his most recent projects. Interestingly OPN composing a film score seems to have had a reverse effect on him, as this album is one of his most cohesive and flowing works yet!
When I say Oneohtrix Point Never has fully immersed himself into soundtrack mode, it is because this ticks off a lot of those original score boxes. There are just as many nods to synthesizer pioneers Tangerine Dream on this album, as their are to current original scores such as Stranger Things. Whilst OPN has certainly explored synthesizers many times in the past, 'Good Time' is very much a full blown love letter to the synthesizer. There are nods to legendary synthesizer film score composers such as Vangelis, John Carpenter, Giorgio Moroder, Clint Mansell and even Cliff Martinez. The album is full of spacey atmospheres and strong melodies as layers of modulated synths shrink and expand explosively all over the record. OPN's icy and frantic sounds and production really shine on this record, and many of the tracks have a great urgency. In particular 'Hospital Escape' conjurers exactly what the title suggests. The pounding percussion and waves of frantic synth modulation very much feel like a chase scene. 'Flashback' has this wash of galloping synths that pitchshift, fade and morph. The production is busy, yet the hook and strong synth melody keep everything grounded. Again this track has a really urgency to it, and the production is so bright and colourful that it will practically bounce around your brain. 'Romance Apocalypse' is full on Blade Runner worship, with these bendy, cool as ice synth melodies backed with these slightly cheesy (yet in that perfectly nostalgic way) tribal beats, sounding somewhere between Rustie and Perturbator. The epic 'Leaving the Park' is just a masterclass in production and layering, with these fantastic synth sounds just bouncing off each other. The album ends with the most striking and original piece of music of all. 'The Pure & the Damned' is a slow burning piano ballad with excellent vocals and lyrics from none other than Iggy Pop. An utterly fantastic climax, that I bet holds a much more emotional impact in the film.
Oneohtrix Point Never has presented his fans and critics with an interesting quandary with 'Good Time'. In some ways it is one of his least distinctive works yet. Even if one of his fans walked into a record store and heard this playing, they wouldn't assume it was the new OPN record. Sonically it is very much a love letter to the synthesizer pioneers and soundtrack musicians that came before him. A full on modulated synth showcase. However, Lopatin still injects much of his personality, as well as signature production techniques and skills into these compositions. Unlike his previous record, OPN has presented us with one of his most direct, flowing and well rounded records since his 2011 classic 'Replica'. By stripping away some of the madness and overload of ideas and sounds, Lopatin has only become stronger and more focused at what he does. 'Good Time' is an immaculately produced effort, full of strong melodies, mesmerising layers of sound, and a true urgency. Film score lovers as well as Electronic music fans owe it to themselves to hear this album. Even without seeing the film, it will make you want to see it, and it totally stands as a great OPN album in its own right. Oneohtrix Point Never has ventured into the art of film soundtracks and absolutely nailed it. I would love to hear him do more of this! 8/10.
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