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1234:, Cam Lindsay honored the album for being "shrewd" and accessible to many listeners while still being complex. The LP later made it to number 16 on the publication's list of the "20 Best Dance & Electronic Albums of 2011." Tao highlighted the complexity of the sounds used in the album, which helped make it worth repeated listens given that the lyrics mostly has "vague references to the album's concept or express some generic sentiment along the lines of "Big Brother is watching"."
1212:"is equally enjoyable as a painstaking period re-creation drenched in neon nostalgia and nylon nausea, and as a piece of sterling (if decidedly warped) electronic pop music in its own right." He praised the duo's ability of making sounds from music of the 1980s "feel surprisingly fresh, thanks to their obvious affection for the material and their equally devoted attention to songs and sounds."
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In a more mixed review, writer Ben
Schumer felt that while the LP was "enjoyable," it was nothing "more than a time capsule." He also noted that listeners of works under the Oneohtrix Point Never project would be "shocked by how goofy the dark synth lord can get." Becker called it "an undeniably fun
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that controls the human. He explained that the frequent number of references to television in the lyrics "locate the album somewhere between the technology of the past and that of the future, between 1984 and the virtualized separation of image from machine." Ford & Lopatin conceived the idea of
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critic
Richard Elliot wrote a highly favorable review of the record, calling it "a work of heroic heritage—reorganizing an era that is too often dismissed as sterile and empty" and a record that "gets better with every play, with every peeling back of its more obvious, glossy layers." He analyzed
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as a "creation that is equal parts experimentation and familiarity, cheese sincerity, teen affect, cultural diagnostics, and a liberal streak of naïve charm." He highlighted how the melodies "won’t impress themselves instantly upon the consciousness but rather work their way into it," which was
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was produced with the software Pro Tools. However, it was recorded in a much bigger studio with more advanced equipment, meaning the recording of the jam sessions involved instruments that were signaled to multiple channels instead of just one track all together like
364:'s son, who was a fan of the Tigercity project, so he could talk about recording the synths for Games' first full-length album at Hammer's studio in upstate New York, and announced they would begin recording the LP at the studio in December: "We're honing in [
1194:, piecing together textures and re-composing slabs of sound in ways that challenge and change their original logic." He also highlighted how the "broken" and unstable arrangements of the tracks are made into "magical pop sounds." K. Ross Hoffman, a journalist for
1219:"overstuffed and ridiculous, but also an enticing invitation to plug in and drop out." He praised the vocals and "merely functional" instrumentals, opining that they help "keep the balance right," as well as the old-era-style songwriting. Savage described
377:, had a conversation with Ford and Lopatin where they suggested that the group form a new label and studio under Mexican Summer. In February 2011, the duo changed their name to Ford & Lopatin, reportedly to preempt legal issues with the
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that gives it a mournful, scented tone. It is followed by the theme song for and named after Joey Rogers, which is about needing System II to produce the record he wants make that, in Ford's words, "dominates his dreams."
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critic
Richard Elliott noted a "stutter of the past" in the album's drum parts which was a symbol of the "general battle between analog and digital, “real” and synthesized, that occupied so much of that era’s aesthetics."
618:
726:-style guitar solo is performed with inharmonious vocal stabs in the background. All of the sporadic instances are calmed when Ford sings "Although I'm dinged up, voices are going away." The song's
1242:-themed dreams and technological mysticism," describing it as like "candy; it’s not great for you, but it tastes delicious and goes down easy." However, he also compared it to Lopatin's album
641:
opens with "Scumsoft", where Rogers, while clicking through channels on the television, is possessed by snippets of demonic shows. The track is a montage of samples from randomly-chosen
413:
thing going on where some songs were more driven by Joel, some by me. But whatever ideas were on the table, both of us were kind of throwing a lot of stuff together." The Gaia synth by
860:." Jan Hammer's signature arpeggiated synthesizer riffs and tape echos are present on the track, as well as guitar work from Tigercity's Andrew Brady. It was described by Marrow as a "
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videos
Lopatin played through Al Carlson's tape echo filter. Lopatin jokingly described YouTube as the "second-best synth" used for the making of the album, being topped by the
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and
Gitelman singing the same lead vocal melody in different styles, while Ford acts as "weird computer glue holding them together," Lopatin said. Categorized as a "lover's
1534:- guitar (except on "Green Fields"), vocals (on "Joey Rogers"), additional vocals (on "Too Much MIDI (Please Forgive Me)"), additional vocals and lyrics (on "Break Inside")
317:, as well as cluttered and improved quality production techniques than heard on their previous releases. It features production and vocal contributions from Al Carlson,
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television advertisement, "World of Regret" is the part of the album's story where Rogers' "hedonistic last supper" takes place, with a choir of "dads" attending it.
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songs before Ford and
Lopatin began experimenting with them. The making of "New Planet" is the best example of this process; Ford and Lopatin built the track around
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1274:'s "welcome looseness." He felt that this led to "too many cultural cues being thrown our way." He overall described the record as "dated, but not in a good way."
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1266:(2010); he opined that the duo's self-aware and "over-studied" take on 1980s music as well as the "focused and over-thought songwriting and production" on
613:
named System II from a television while he's asleep. The voices control him to break into a music equipment store. Rowan Savage found this story similar to
271:) and Joel Ford. Following the group's abandonment of their previous name "Games" for legal reasons, they recorded the album at Gary's Electric Studios in
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that the LP was "far from being subject to a nostalgia for inauthenticity, or a desire for style over content," and the duo "get involved in the labor of
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as "something strange and pretty universally likable at the same time" and one of the few records to properly homage music from the 1980s. Reviewing for
1805:
738:". In "Rock Center Paranoia", which Lopatin called a "fake metal jam," Rogers has an anxiety attack in a music equipment shop. The song features a
564:. Tao described the singing as "creepily emotionless" and "purposefully robotic, acting as the voice of God if God sounded like a male version of
673:
System II that brainwashes Rogers throughout the album. In this track, the computer is voiced by
Mexican Summer staff member Julia Krivonos. The
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677:
strings that play during the song's chorus were added by Ford and
Lopatin after the mixing was done, which angered Guillermo. Dried, ominous
425:
style, where he's showing you all these little strange but in a fun way that's not wanky, being a zoo of little synth emotions and shapes."
1760:
568:;" he analyzes that the robotic aspect of the singing gives "the knowingly cheesy melodies a welcome (if superficial) feeling of gravitas."
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makes the album "a collection of pop songs rather than yet another instrumental so-old-it’s-new electronic album." Joel Ford sings in a
761:. Upon its June 13, 2011 release under the program, it received the label of "Best New Track" from a review of the track by Kelly for
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yet relaxing mixture where the guitar, bass, and programmed sounds all do different things." "Break Inside", labeled "the
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named Joey Rogers who is brainwashed by several voices transmitted to his subconscious by a record industry-controlling
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was used to achieve what he called "the weird scat dad sounds": "It's definitely like we wanted to do almost this
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recorded a full verse for the album, but only a part of it was used and was featured near the end of "Scumsoft".
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the narrator hates to have in his brain. Despite the track's glitchy sound, the song also contains elements of
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magazine categorized the album as a "modern and experimental twist" of 1980s music and described the sound as "
2062:"FREE ASSOCIATION: Stream Ford & Lopatin's 'Channel Pressure' LP and Read Their Track-By-Track Commentary"
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featuring vocals from Autre Ne Veut. The song is followed by "Green Fields", another Hammer-influenced cut on
479:
described the album as "blurring the boundaries between brittle digi-funk, gooey, soft-focus R & B, wonky
828:, in the duo's words, "took this one above the clouds." Jokingly described by Ford and Lopatin as "our sweet
279:. It was released on June 7, 2011 as the first album to be issued on Software, Lopatin's own label under the
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The hectic sound editing is most prevalent in the instrumental facet of the album, where, as Conrad Tao of
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increased his comfort and familiarity with the program. He described the development process as "kind of a
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explained, "layers build upon one another and drop out without warning, beats appear out of nowhere, and
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plays disappointingly safe." Taylor found the LP to be inferior to the previous release of the project
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clever given the album's concept about computers manipulating the behavior of a human. Hajduch praised
1522:- synthesizers, writing, production, vocals (except "Joey Rogers" and "I Surrender"), drum programming
712:'s Zach Kelly compared to "forgotten B-movie soundtracks from the decade of excess" and Ken Taylor of
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1540:- vocals and additional lyrics (on "I Surrender"), additional vocals and lyrics (on "Break Inside")
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The album was promoted with two singles, "Emergency Room" and "Too Much MIDI (Please
Forgive Me)."
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steam world", musically arranged with "alien-sounding" synthesizers and sounds commonly found in
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378:
100:
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765:. The track depicts Rogers as excited to record an album in his own dreamland while riding in a
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797:" and "deliciously cheesy guitar wailing," Kelly analyzed. Savage compared its instrumental to
785:. It then turns into an "archetypal synth pop banger" with synth stabs reminiscent of those in
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and
Software acts Peter Mergener and Michael Weisser, who produced music in the same style as
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515:, "deconstructed," and "smashed back together;" the record has a "smooth ’80s sound and quasi-
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is a "jittery, looped amalgam of trashy ’80s vibes" where instrument and vocal recordings are
370:] on the concept still, but it definitely involves athletic cuts and smooth jazz-fusion."
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improv jam. In an August 2010 interview, Ford said that he had recently met in Brooklyn with
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In the fall of 2010, Keith Abrahamsson and Andres Santo Domingo, founders of the imprint
356:(2010) was an extended play that was produced by recording and editing one single stereo
475:. Some critics noted the record's glitchy and hectic arrangements and sound structures.
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805:", and noted its "fretless bass aesthetic characteristic" similar to that of musician
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upon its release, and was number 18 on a year-end list of the best albums of 2011 by
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318:
314:
297:. Musically, the album draws on an eclectic variety of 1980s music styles, including
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1528:- synthesizers, writing, production, additional drum programming (on "I Surrender")
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836:; the song is about Roger hearing voices, but at the same time it also talks about
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1784:"Games Change Name to Ford & Lopatin, Start Mexican Summer Imprint Software"
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1761:"Q&A: Ford & Lopatin On Playing Together And Playing With Studio Toys"
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Ford & Lopatin formed in 2009 under the moniker Games. Their debut record
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665:'s title track, described by Lopatin as "one of the more developed Jupiter 8
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story that takes place in the year 2082. Combining elements of the plots of
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As Ford and Lopatin's "secret recipe", most of the songs written for
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more than 20 years prior. He opined that in those regards, "much of
753:'s second single; it was the first of ten tracks to be issued under
516:
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about a teen named Joey Rogers who is brainwashed by voices from a
2280:""Too Much MIDI (Please Forgive Me)" by Ford & Lopatin Review"
2219:
1239:
1168:
885:
873:
714:
685:-influenced guitar played by Jeff Gitelman, and a repeating flute
650:
418:
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893:
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595:
2502:
2318:"Reviews and Tracks for Channel Pressure by Ford & Lopatin"
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Aaron David Cross - additional synthesizers (on "Break inside")
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the duo bought from the door next to where they were recording
682:
366:
1913:"Morrow vs. Hajduch: Ford & Lopatin's Channel Pressure"
1248:(2010), which was released a year before, and the works of
876:
reggae" song by Lopatin, "I Surrender" is another track on
519:
song structures" that contradict its "crazy programming."
1871:"Ford & Lopatin, 'Channel Pressure' (Mexican Summer)"
461:, and a liberally applied layer of synthy cheese" and by
1948:"Ford & Lopatin – Channel Pressure (album review 2)"
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Julia Krivonos - System II voice (on "Channel Pressure")
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sounding like what Lopatin described as a "subterranean
722:. In the middle of the track's running time, Gitelman's
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Music for Reliquary House / In 1980 I Was a Blue Square
2273:
2271:
2269:
2267:
1806:"Session transcript Madrid 2011: Oneohtrix Point Never"
706:, released on April 25, 2011. It's a joyous track that
385:, and started the label Software under Mexican Summer;
605:(2001), the story involves a "mild-mannered" teenaged
1841:"Album Review: Ford & Lopatin – Channel Pressure"
1183:
earned moderately positive reviews upon its release.
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1507:from November 2010 to January 2011 and mastered by
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1911:Morrow, Scott; Hajduch, Patrick (June 29, 2011).
1736:"Games' Dan Lopatin Talks New Label, Name Change"
503:theme." In the words of Patrick Hajduch, another
2301:"Channel Pressure by Ford & Lopatin reviews"
848:"Dead Jammer" was described by Ford as "ambient
622:the Joey Rogers character while riding a bus to
2179:""Emergency Room" by Ford & Lopatin Review"
2142:"Emergency Room – Single by Ford & Lopatin"
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730:bass riff was compared by Kelly to that of the
405:Lopatin said his use of the program for making
2433:. December 1, 2011. p. 16. Archived from
2020:
2018:
2016:
2014:
2012:
2010:
2008:
2006:
2004:
2002:
1750:on February 14, 2011. Retrieved July 31, 2017.
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267:, consisting of producers Daniel Lopatin (aka
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2482:
2480:
2427:"Dance & Electronic 2011: 20 Best Albums"
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332:garnered favorable reviews from professional
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1561:Al Carlson - engineering, vocal programming
16:2011 studio album by Ford & Lopatin
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832:ripoff jam," "The Voices" lyrically has a
689:riff performing a riff a la the theme for
27:
18:
2092:. Mexican Summer. Retrieved June 8, 2015.
1800:
1798:
1796:
1734:Friedlander, Emilie (February 11, 2011).
1549:Andrew Brady - guitar (on "Green Fields")
824:guitar lead melodies and synth pads, and
695:are also present in the instrumentation.
540:As Becker analyzed, the use of vocals on
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749:"Too Much MIDI (Please Forgive Me)" was
2348:"Ford & Lopatin – Channel Pressure"
2090:"Ford & Lopatin – Channel Pressure"
1782:Fitzmaurice, Larry (February 9, 2011).
1667:"Channel Pressure – Ford & Lopatin"
1626:"Ford & Lopatin – Channel Pressure"
1583:
1468:
2381:"Channel Pressure: Ford & Lopatin"
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2111:"Ford & Lopatin: Channel Pressure"
1982:"Ford & Lopatin: Channel Pressure"
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1790:. Conde Nast. Retrieved July 31, 2017.
1698:Fitzmaurice, Larry (August 24, 2010).
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1615:
1613:
1611:
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1607:
2826:Electronic albums by American artists
2408:"Ford & Lopatin Channel Pressure"
2215:"Ford & Lopatin Channel Pressure"
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1546:Paul Hammer - drums (on "The Voices")
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7:
1284:'s list of the best albums of 2011.
619:concept of the "influencing machine"
451:tinged video game overworld themes,
2457:"gorilla vs. bear's albums of 2011"
2109:Fitzmaurice, Larry (June 3, 2011).
1363:"Too Much MIDI (Please Forgive Me)"
892:" that Ford and Lopatin heard on a
560:, and his vocals are filtered with
389:was Software's first release. Like
237:"Too Much MIDI (Please Forgive Me)"
1980:Elliott, Richard (June 16, 2011).
1113:
868:jam" during development, features
14:
1075:
967:
2346:Bodenham, Digby (June 6, 2011).
2248:Official Website. Archived from
1573:B. Sisto - layout and typography
1487:Derived from the liner notes of
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1567:Guillermo Scott Herren - mixing
692:The Good, The Bad, and The Ugly
443:as a mixture of "80s throwback
2717:Chuck Person's Eccojams Vol. 1
2379:Schumer, Ben (June 22, 2011).
2177:Kelly, Zach (March 27, 2011).
2068:. Pop Mart Media. July 1, 2011
1303:
1:
2406:Lindsay, Cam (June 7, 2011).
2278:Kelly, Zach (June 13, 2011).
1839:Becker, Josh (June 6, 2011).
259:is the debut studio album of
2213:Taylor, Ken (June 8, 2011).
1946:Tao, Conrad (June 8, 2011).
1759:Beta, Andy (June 10, 2011).
884:. Musically influenced from
2594:Magic Oneohtrix Point Never
2847:
2416:. Retrieved July 30, 2017.
1773:. Retrieved July 31, 2017.
67:November 2010–January 2011
2242:"Adult Swim Singles 2011"
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530:are employed liberally."
346:Background and production
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2307:Retrieved July 30, 2017.
1570:Thunderhorse - cover art
900:close with "G's Dream."
513:decreased in sample rate
231:Released: April 25, 2011
2545:Betrayed in the Octagon
240:Released: June 13, 2011
1810:Red Bull Music Academy
1555:- vocals on "Scumsoft"
1497:Gary's Electric Studio
1352:"Rock Center Paronoia"
1270:was at the expense of
681:-esque soundscapes, a
669:jams", introduces the
52:June 7, 2011
2530:Oneohtrix Point Never
1250:Joel Vandroogenbroeck
1208:(2008), writing that
773:. It starts out as a
698:"Emergency Room" was
507:magazine journalist,
269:Oneohtrix Point Never
2831:2010s concept albums
2725:Instrumental Tourist
2552:Zones Without People
2437:on February 20, 2015
2252:on November 21, 2017
1746:. Archived from the
1564:Joe LaPorta - mixing
909:Professional ratings
499:twisting around the
2493:. Software. SFT001.
910:
655:alternative hip hop
491:." Scott Morrow of
75:Gary's Electric in
2731:Ford & Lopatin
2647:Compilation albums
2491:Ford & Lopatin
2465:. December 5, 2011
1330:"Channel Pressure"
908:
904:Critical reception
379:Interscope Records
265:Ford & Lopatin
171:Ford & Lopatin
42:Ford & Lopatin
2821:2011 debut albums
2808:
2807:
2683:Soundtrack albums
2282:. Pitchfork Media
1766:The Village Voice
1665:Ross Hoffman, K.
1479:
1478:
1451:"World Of Regret"
1278:was number 18 on
1198:, compared it to
1178:
1177:
816:, started out as
483:, noodly electro-
437:was described by
334:music journalists
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217:Channel Pressure
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1685:
1683:
1681:
1675:Rovi Corporation
1662:
1643:
1642:
1640:
1638:
1621:
1511:at The Lodge in
1489:Channel Pressure
1472:
1341:"Emergency Room"
1305:
1300:
1294:Channel Pressure
1281:Gorilla vs. Bear
1276:Channel Pressure
1272:That We Can Play
1268:Channel Pressure
1263:That We Can Play
1258:Channel Pressure
1254:Channel Pressure
1226:Channel Pressure
1221:Channel Pressure
1217:Channel Pressure
1210:Channel Pressure
1181:Channel Pressure
1162:
1161:
1160:
1156:
1155:
1151:
1150:
1146:
1145:
1141:
1140:
1136:
1135:
1131:
1130:
1126:
1125:
1121:
1120:
1116:
1115:
1099:
1098:
1097:
1093:
1092:
1088:
1087:
1083:
1082:
1078:
1077:
998:Beats per Minute
991:
990:
989:
985:
984:
980:
979:
975:
974:
970:
969:
914:Aggregate scores
911:
898:Channel Pressure
882:Channel Pressure
878:Channel Pressure
814:Channel Pressure
783:Industrial music
751:Channel Pressure
744:Channel Pressure
700:Channel Pressure
663:Channel Pressure
647:Roland Jupiter-8
639:Channel Pressure
577:Channel Pressure
554:Jimmy Somerville
548:in the style of
542:Channel Pressure
509:Channel Pressure
457:-era industrial
440:Beats per Minute
435:Channel Pressure
407:Channel Pressure
400:That We Can Play
395:Channel Pressure
391:That We Can Play
387:Channel Pressure
353:That We Can Play
339:Gorilla vs. Bear
330:Channel Pressure
287:Channel Pressure
261:electronic music
256:Channel Pressure
241:
238:
232:
229:
228:"Emergency Room"
193:Channel Pressure
184:That We Can Play
179:
178:
134:
133:
129:
59:
57:
31:
22:Channel Pressure
19:
2846:
2845:
2841:
2840:
2839:
2837:
2836:
2835:
2811:
2810:
2809:
2804:
2735:
2703:
2678:
2660:
2642:
2624:
2606:
2532:
2527:
2497:
2485:
2478:
2468:
2466:
2455:
2454:
2450:
2440:
2438:
2425:
2424:
2420:
2405:
2401:
2391:
2389:
2386:Under the Radar
2378:
2377:
2368:
2358:
2356:
2345:
2344:
2340:
2330:
2328:
2326:CBS Interactive
2316:
2315:
2311:
2305:AnyDecentMusic?
2299:
2295:
2285:
2283:
2277:
2276:
2265:
2255:
2253:
2240:
2239:
2235:
2225:
2223:
2212:
2211:
2198:
2188:
2186:
2176:
2175:
2164:
2154:
2152:
2140:
2139:
2135:
2125:
2123:
2108:
2107:
2096:
2088:
2081:
2071:
2069:
2060:
2059:
2000:
1990:
1988:
1979:
1978:
1963:
1953:
1951:
1945:
1944:
1931:
1921:
1919:
1910:
1909:
1896:
1886:
1884:
1869:
1868:
1861:
1851:
1849:
1838:
1837:
1824:
1814:
1812:
1804:
1803:
1794:
1781:
1777:
1758:
1754:
1744:Pitchfork Media
1733:
1724:
1714:
1712:
1700:"Rising: Games"
1697:
1696:
1689:
1679:
1677:
1664:
1663:
1646:
1636:
1634:
1624:Savage, Rowan.
1623:
1622:
1585:
1581:
1576:
1485:
1480:
1470:
1290:
1205:Stainless Style
1158:
1153:
1148:
1143:
1138:
1133:
1128:
1123:
1118:
1106:Under the Radar
1095:
1090:
1085:
1080:
987:
982:
977:
972:
928:AnyDecentMusic?
906:
850:John McLaughlin
769:on an elevated
759:Singles Program
636:
585:retrofuturistic
574:
471:in the vein of
447:, happy hooks,
431:
348:
244:
239:
236:
235:
230:
227:
226:
196:
187:
165:
131:
127:
126:
118:
55:
53:
44:
17:
12:
11:
5:
2844:
2842:
2834:
2833:
2828:
2823:
2813:
2812:
2806:
2805:
2803:
2802:
2795:
2788:
2783:
2778:
2773:
2766:
2763:The Bling Ring
2759:
2757:Mexican Summer
2754:
2749:
2743:
2741:
2737:
2736:
2734:
2733:
2728:
2721:
2714:Chuck Person (
2711:
2709:
2705:
2704:
2702:
2701:
2694:
2686:
2684:
2680:
2679:
2677:
2676:
2668:
2666:
2662:
2661:
2659:
2658:
2650:
2648:
2644:
2643:
2641:
2640:
2632:
2630:
2626:
2625:
2623:
2622:
2614:
2612:
2611:Extended plays
2608:
2607:
2605:
2604:
2597:
2590:
2583:
2576:
2569:
2562:
2555:
2548:
2540:
2538:
2534:
2533:
2528:
2526:
2525:
2518:
2511:
2503:
2496:
2495:
2476:
2448:
2418:
2399:
2366:
2338:
2309:
2293:
2263:
2233:
2196:
2162:
2133:
2094:
2079:
1998:
1961:
1950:. Sputnikmusic
1929:
1894:
1883:. June 7, 2011
1859:
1822:
1792:
1775:
1752:
1722:
1687:
1644:
1631:Tiny Mix Tapes
1582:
1580:
1577:
1575:
1574:
1571:
1568:
1565:
1562:
1559:
1556:
1550:
1547:
1544:
1541:
1535:
1529:
1526:Daniel Lopatin
1523:
1493:
1484:
1481:
1477:
1476:
1473:
1467:
1466:
1463:
1460:
1456:
1455:
1452:
1449:
1445:
1444:
1441:
1440:"Green Fields"
1438:
1434:
1433:
1430:
1427:
1423:
1422:
1419:
1418:"Break Inside"
1416:
1412:
1411:
1408:
1405:
1401:
1400:
1397:
1394:
1390:
1389:
1386:
1383:
1379:
1378:
1375:
1372:
1368:
1367:
1364:
1361:
1357:
1356:
1353:
1350:
1346:
1345:
1342:
1339:
1335:
1334:
1331:
1328:
1324:
1323:
1320:
1317:
1313:
1312:
1309:
1306:
1298:
1289:
1286:
1176:
1175:
1172:
1164:
1163:
1109:
1101:
1100:
1071:
1068:Tiny Mix Tapes
1063:
1062:
1059:
1053:
1052:
1049:
1041:
1040:
1037:
1029:
1028:
1025:
1017:
1016:
1013:
1005:
1004:
1001:
993:
992:
963:
957:
956:
953:
949:
948:
944:
943:
940:
934:
933:
930:
924:
923:
920:
916:
915:
905:
902:
834:double meaning
791:The Revolution
635:
632:
583:imagined as a
573:
570:
550:Green Gartside
487:, and chintzy
430:
427:
375:Mexican Summer
347:
344:
281:Mexican Summer
250:
249:
246:
245:
243:
242:
233:
223:
220:
219:
209:
208:
205:
204:
201:
200:
198:
189:
175:
174:
167:
166:
164:
163:
160:
158:Daniel Lopatin
154:
152:
146:
145:
142:
136:
135:
124:
120:
119:
117:
116:
113:
108:
103:
98:
92:
90:
84:
83:
73:
69:
68:
65:
61:
60:
50:
46:
45:
40:
33:
32:
24:
23:
15:
13:
10:
9:
6:
4:
3:
2:
2843:
2832:
2829:
2827:
2824:
2822:
2819:
2818:
2816:
2801:
2800:
2796:
2794:
2793:
2789:
2787:
2784:
2782:
2779:
2777:
2774:
2772:
2771:
2767:
2765:
2764:
2760:
2758:
2755:
2753:
2750:
2748:
2745:
2744:
2742:
2738:
2732:
2729:
2727:
2726:
2722:
2719:
2718:
2713:
2712:
2710:
2708:Side projects
2706:
2700:
2699:
2695:
2693:
2692:
2688:
2687:
2685:
2681:
2675:
2674:
2670:
2669:
2667:
2663:
2657:
2656:
2652:
2651:
2649:
2645:
2639:
2638:
2634:
2633:
2631:
2627:
2621:
2620:
2619:Commissions I
2616:
2615:
2613:
2609:
2603:
2602:
2598:
2596:
2595:
2591:
2589:
2588:
2584:
2582:
2581:
2577:
2575:
2574:
2570:
2568:
2567:
2563:
2561:
2560:
2556:
2554:
2553:
2549:
2547:
2546:
2542:
2541:
2539:
2537:Studio albums
2535:
2531:
2524:
2519:
2517:
2512:
2510:
2505:
2504:
2501:
2492:
2488:
2483:
2481:
2477:
2464:
2463:
2458:
2452:
2449:
2436:
2432:
2428:
2422:
2419:
2415:
2414:
2409:
2403:
2400:
2388:
2387:
2382:
2375:
2373:
2371:
2367:
2355:
2354:
2349:
2342:
2339:
2327:
2323:
2319:
2313:
2310:
2306:
2302:
2297:
2294:
2281:
2274:
2272:
2270:
2268:
2264:
2251:
2247:
2243:
2237:
2234:
2222:
2221:
2216:
2209:
2207:
2205:
2203:
2201:
2197:
2184:
2180:
2173:
2171:
2169:
2167:
2163:
2151:
2147:
2143:
2137:
2134:
2122:
2118:
2117:
2112:
2105:
2103:
2101:
2099:
2095:
2091:
2086:
2084:
2080:
2067:
2063:
2057:
2055:
2053:
2051:
2049:
2047:
2045:
2043:
2041:
2039:
2037:
2035:
2033:
2031:
2029:
2027:
2025:
2023:
2021:
2019:
2017:
2015:
2013:
2011:
2009:
2007:
2005:
2003:
1999:
1987:
1983:
1976:
1974:
1972:
1970:
1968:
1966:
1962:
1949:
1942:
1940:
1938:
1936:
1934:
1930:
1918:
1914:
1907:
1905:
1903:
1901:
1899:
1895:
1882:
1878:
1877:
1872:
1866:
1864:
1860:
1848:
1847:
1842:
1835:
1833:
1831:
1829:
1827:
1823:
1811:
1807:
1801:
1799:
1797:
1793:
1789:
1785:
1779:
1776:
1772:
1768:
1767:
1762:
1756:
1753:
1749:
1745:
1741:
1740:Altered Zones
1737:
1731:
1729:
1727:
1723:
1711:
1707:
1706:
1701:
1694:
1692:
1688:
1676:
1672:
1668:
1661:
1659:
1657:
1655:
1653:
1651:
1649:
1645:
1633:
1632:
1627:
1620:
1618:
1616:
1614:
1612:
1610:
1608:
1606:
1604:
1602:
1600:
1598:
1596:
1594:
1592:
1590:
1588:
1584:
1578:
1572:
1569:
1566:
1563:
1560:
1557:
1554:
1553:Himanshu Suri
1551:
1548:
1545:
1542:
1539:
1538:Autre Ne Veut
1536:
1533:
1532:Jeff Gitelman
1530:
1527:
1524:
1521:
1518:
1517:
1516:
1514:
1513:New York City
1510:
1506:
1502:
1498:
1492:
1490:
1482:
1474:
1471:Total length:
1464:
1461:
1457:
1453:
1450:
1446:
1442:
1439:
1435:
1431:
1429:"I Surrender"
1428:
1424:
1420:
1417:
1413:
1409:
1407:"Dead Jammer"
1406:
1402:
1398:
1396:"Joey Rogers"
1395:
1391:
1387:
1384:
1380:
1376:
1373:
1369:
1365:
1362:
1358:
1354:
1351:
1347:
1343:
1340:
1336:
1332:
1329:
1325:
1321:
1318:
1314:
1301:
1297:
1295:
1292:Derived from
1288:Track listing
1287:
1285:
1283:
1282:
1277:
1273:
1269:
1265:
1264:
1259:
1255:
1251:
1247:
1246:
1241:
1238:ride through
1235:
1233:
1232:
1227:
1222:
1218:
1213:
1211:
1207:
1206:
1201:
1197:
1193:
1188:
1187:
1182:
1173:
1171:
1170:
1166:
1165:
1110:
1108:
1107:
1103:
1102:
1072:
1070:
1069:
1065:
1064:
1060:
1058:
1055:
1054:
1050:
1048:
1047:
1043:
1042:
1038:
1036:
1035:
1031:
1030:
1026:
1024:
1023:
1019:
1018:
1014:
1012:
1011:
1007:
1006:
1002:
1000:
999:
995:
994:
964:
962:
959:
958:
950:
947:Review scores
945:
941:
939:
936:
935:
931:
929:
926:
925:
917:
912:
903:
901:
899:
895:
891:
887:
883:
879:
875:
871:
870:Autre Ne Veut
867:
863:
859:
855:
851:
846:
843:
839:
835:
831:
827:
823:
822:fretless bass
819:
815:
810:
808:
804:
800:
796:
792:
788:
784:
780:
776:
772:
768:
764:
760:
756:
752:
747:
745:
741:
737:
733:
729:
725:
721:
718:the works of
717:
716:
711:
710:
705:
701:
696:
694:
693:
688:
684:
680:
676:
672:
671:supercomputer
668:
664:
660:
656:
652:
648:
644:
640:
633:
631:
629:
628:Massachusetts
625:
620:
616:
612:
611:supercomputer
608:
604:
603:
598:
597:
592:
591:
586:
582:
581:concept album
578:
571:
569:
567:
563:
559:
555:
551:
547:
543:
538:
535:
534:
529:
525:
520:
518:
514:
510:
506:
502:
498:
494:
490:
486:
482:
478:
474:
470:
466:
465:
460:
456:
455:
454:Rhythm Nation
450:
446:
442:
441:
436:
433:The style of
428:
426:
424:
420:
416:
412:
408:
403:
401:
396:
392:
388:
384:
380:
376:
371:
369:
368:
363:
359:
355:
354:
345:
343:
341:
340:
335:
331:
326:
324:
323:Jeff Gitelman
320:
319:Autre Ne Veut
316:
312:
308:
304:
300:
296:
295:supercomputer
292:
291:concept album
288:
284:
282:
278:
274:
270:
266:
262:
258:
257:
247:
234:
225:
224:
221:
218:
214:
210:
206:
199:
195:
194:
190:
186:
185:
181:
180:
176:
172:
168:
161:
159:
156:
155:
153:
151:
147:
143:
141:
137:
125:
121:
114:
112:
109:
107:
104:
102:
99:
97:
94:
93:
91:
89:
85:
82:
78:
74:
70:
66:
62:
51:
47:
43:
38:
34:
30:
25:
20:
2797:
2790:
2768:
2761:
2723:
2715:
2696:
2689:
2673:Memory Vague
2671:
2665:Video albums
2653:
2635:
2629:Split albums
2617:
2599:
2592:
2585:
2578:
2573:R Plus Seven
2571:
2564:
2557:
2550:
2543:
2486:
2469:February 20,
2467:. Retrieved
2460:
2451:
2441:February 20,
2439:. Retrieved
2435:the original
2430:
2421:
2411:
2402:
2392:February 20,
2390:. Retrieved
2384:
2359:February 20,
2357:. Retrieved
2351:
2341:
2331:February 20,
2329:. Retrieved
2312:
2296:
2284:. Retrieved
2254:. Retrieved
2250:the original
2236:
2226:February 20,
2224:. Retrieved
2218:
2187:. Retrieved
2185:. Conde Nast
2182:
2146:iTunes Store
2136:
2126:February 20,
2124:. Retrieved
2114:
2070:. Retrieved
2065:
1991:February 20,
1989:. Retrieved
1952:. Retrieved
1920:. Retrieved
1916:
1887:February 20,
1885:. Retrieved
1874:
1852:February 20,
1850:. Retrieved
1844:
1813:. Retrieved
1787:
1778:
1771:Peter Barbey
1764:
1755:
1739:
1715:November 27,
1713:. Retrieved
1703:
1680:February 20,
1678:. Retrieved
1637:February 20,
1635:. Retrieved
1629:
1495:Recorded at
1494:
1488:
1486:
1385:"The Voices"
1374:"New Planet"
1293:
1291:
1279:
1275:
1271:
1267:
1261:
1257:
1253:
1243:
1236:
1229:
1225:
1220:
1216:
1214:
1209:
1203:
1184:
1180:
1179:
1167:
1104:
1066:
1057:Sputnikmusic
1056:
1044:
1032:
1020:
1008:
996:
897:
881:
877:
862:polyrhythmic
854:Jerry Garcia
847:
813:
811:
762:
758:
750:
748:
743:
720:Oingo Boingo
713:
707:
699:
697:
690:
662:
638:
637:
615:Victor Tausk
602:Donnie Darko
600:
599:(1982), and
594:
588:
576:
575:
558:Lewis Taylor
541:
539:
531:
524:Sputnikmusic
523:
521:
508:
504:
492:
467:magazine as
462:
452:
438:
434:
432:
423:Thomas Dolby
406:
404:
399:
394:
390:
386:
372:
365:
351:
349:
337:
329:
327:
286:
285:
255:
254:
253:
216:
192:
191:
182:
101:experimental
37:Studio album
2752:Discography
2066:Self-titled
1509:Joe LaPorta
1462:"G's Dream"
1192:memory work
858:Steve Roach
818:smooth jazz
803:Blue Monday
795:Purple Rain
728:Roland D-50
704:lead single
481:fusion jazz
429:Composition
411:White Album
311:jazz fusion
2815:Categories
2799:Uncut Gems
2698:Uncut Gems
2322:Metacritic
2246:Adult Swim
2153:Retrieved
2150:Apple Inc.
2121:Conde Nast
1986:PopMatters
1710:Conde Nast
1579:References
1319:"Scumsoft"
1186:PopMatters
1034:PopMatters
938:Metacritic
826:Prefuse 73
771:interstate
755:Adult Swim
732:Gary Numan
724:jazz metal
675:Omnisphere
659:Das Racist
533:PopMatters
501:Miami Vice
497:Prefuse 73
473:Ariel Pink
445:electropop
362:Jan Hammer
303:white soul
299:electropop
173:chronology
106:electronic
96:Synth-funk
56:2011-06-07
2792:Good Time
2776:Vaporwave
2691:Good Time
2183:Pitchfork
2116:Pitchfork
1954:August 4,
1881:SpinMedia
1788:Pitchfork
1705:Pitchfork
1520:Joel Ford
1483:Personnel
1202:'s album
1200:Neon Neon
1022:Pitchfork
888:'s song "
842:pop music
807:Mick Karn
799:New Order
767:hatchback
763:Pitchfork
709:Pitchfork
653:from the
562:auto-tune
358:Pro Tools
283:imprint.
162:Joel Ford
2770:Partisan
2559:Returnal
2489:(2014).
2431:Exclaim!
2413:Exclaim!
1922:March 1,
1815:March 1,
1748:original
1671:Allmusic
1505:New York
1501:Brooklyn
1245:Returnal
1231:Exclaim!
1196:AllMusic
961:AllMusic
866:Babyface
838:earworms
757:'s 2011
740:Minimoog
607:antihero
593:(1983),
590:WarGames
546:falsetto
528:flangers
477:AllMusic
469:pastiche
449:new-aged
277:New York
273:Brooklyn
150:Producer
144:Software
115:post-pop
111:synthpop
81:New York
77:Brooklyn
64:Recorded
49:Released
39: by
2566:Replica
2286:May 28,
2256:May 28,
2189:May 27,
2155:May 27,
2072:May 27,
890:Oh Yeah
779:S&M
643:YouTube
572:Concept
517:R&B
489:new age
459:R&B
381:artist
315:new age
307:R&B
213:Singles
197:(2011)
188:(2010)
54: (
2747:ANOHNI
2587:Age Of
2148:(US).
1311:Length
1027:7.5/10
955:Rating
952:Source
942:78/100
932:7.4/10
922:Rating
919:Source
852:meets
787:Prince
775:lament
734:song "
657:group
634:Tracks
624:Boston
566:GLaDOS
556:, and
415:Roland
321:, and
313:, and
123:Length
72:Studio
2655:Rifts
2601:Again
2220:XLR8R
1917:Alarm
1475:37:23
1308:Title
1240:EPCOT
1169:XLR8R
886:Yello
874:Casio
715:XLR8R
687:trill
651:Heems
579:is a
505:Alarm
493:Alarm
419:J-pop
289:is a
215:from
140:Label
88:Genre
2786:Warp
2781:Mego
2471:2015
2443:2015
2394:2015
2361:2015
2333:2015
2288:2016
2258:2016
2228:2015
2191:2016
2157:2016
2128:2015
2074:2016
1993:2015
1956:2015
1924:2015
1889:2015
1876:Spin
1854:2015
1817:2015
1717:2015
1682:2015
1639:2015
1465:0:41
1454:2:42
1443:0:53
1432:3:14
1421:4:50
1410:2:16
1399:3:43
1388:3:00
1377:3:22
1366:4:14
1355:1:21
1344:3:33
1333:3:02
1322:0:40
1174:6/10
1051:8/10
1046:Spin
1039:9/10
1015:8/10
894:Twix
856:and
801:'s "
793:'s "
789:and
736:Cars
667:MIDI
596:Tron
485:prog
464:Spin
383:Game
263:duo
2353:DIY
1499:in
1459:14.
1448:13.
1437:12.
1426:11.
1415:10.
1304:No.
1061:4/5
1010:DIY
1003:73%
830:ELO
702:'s
683:ska
679:dub
617:'s
367:sic
2817::
2479:^
2459:.
2429:.
2410:.
2383:.
2369:^
2350:.
2324:.
2320:.
2303:.
2266:^
2244:.
2217:.
2199:^
2181:.
2165:^
2144:.
2119:.
2113:.
2097:^
2082:^
2064:.
2001:^
1984:.
1964:^
1932:^
1915:.
1897:^
1879:.
1873:.
1862:^
1843:.
1825:^
1808:.
1795:^
1786:.
1769:.
1763:.
1742:.
1738:.
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1708:.
1702:.
1690:^
1673:.
1669:.
1647:^
1628:.
1586:^
1515:.
1503:,
1491:.
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1393:8.
1382:7.
1371:6.
1360:5.
1349:4.
1338:3.
1327:2.
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1296:.
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630:.
626:,
552:,
393:,
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325:.
309:,
305:,
301:,
275:,
132:23
128:37
79:,
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2515:t
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2290:.
2260:.
2230:.
2193:.
2159:.
2130:.
2076:.
1995:.
1958:.
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1684:.
1641:.
130::
58:)
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