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Retrieved from Wikipedia:
Sticky Drama on Wikipedia
Garden of Delete
Garden of Delete.jpg
Studio album by Oneohtrix Point Never
ReleasedNovember 13, 2015
RecordedJanuary – July 2015 (Brooklyn, NY)
  • Electronic[1][2]
  • experimental[3]
  • Daniel Lopatin
  • Paul Corley
Oneohtrix Point Never chronology
Singles from Garden of Delete
  1. "I Bite Through It"
    Released: 3 September 2015
  2. "Mutant Standard"
    Released: 21 October 2015
  3. "Sticky Drama"
    Released: 4 November 2015
  4. "Ezra"
    Released: 12 November 2015

Garden of Delete is the seventh studio album by American electronic musician Oneohtrix Point Never, released on November 13, 2015 by Warp Records. The album was preceded by an enigmatic Internet-based promotional campaign and draws on sources such as grunge music, top 40 radio and themes of adolescence and mutation. It received generally positive reviews from critics, and was included on year-end lists by several publications, including Fact, PopMatters, and The Quietus.


  • 1 Background and recording
  • 2 Composition
  • 3 Promotional campaign
  • 4 Critical reception
    • 4.1 Accolades
  • 5 Track listing
    • 5.1 Sample credits
  • 6 Personnel
  • 7 Charts
  • 8 References

Background and recording

Following the release of his 2013 album R Plus Seven and work on several side projects, Lopatin was unexpectedly invited to support the rock bands Nine Inch Nails and Soundgarden on their 2014 joint amphitheater tour as a replacement for Death Grips.[4][5] With the permission of Nine Inch Nails frontman Trent Reznor, Lopatin performed 30-minute opening sets of self-described "cyberdrone" to often vexed arena rock crowds.[6] The tour reunited him with the misanthropic 1990s grunge music of his teenage years and prompted him to reengage with his memories of adolescence and puberty,[4][5] which he described as "pretty traumatic."[7]

Upon completing the tour and returning to Brooklyn, Lopatin rented a small, windowless basement studio and began recording new material.[8] Drawing on his experiences touring, he noted that "a lot of my thoughts on the record were about dealing with puberty and how your pubescent body is essentially the staging area for all this mutation."[9] Other inspirations included the video hosting service Vevo, satellite radio stations such as Ozzy's Boneyard and Lithium, and the writing of French philosopher Julia Kristeva (in particular, her influential 1980 essay Powers of Horror).[7] About the latter, Lopatin explained,

[Kristeva] talks about the abject things that come out that we have desire to see. So the things that we try to contain within us is like this pre-semiotic reality and society is the way we want to present ourselves ... And yet, when the stuff comes out — like, you sneeze and you kind of want to look at the napkin for a second ... So I started thinking, that's a good formal constraint, like how do I kind of vaguely represent things that leak or things that are kind of disgusting but still seductive?[10]

In addition, the isolated recording environment encouraged an abrasive and dense sound relative to OPN's recent releases,[5] with Lopatin stating that "I was making pretty aggressive, nihilistic stuff early on and kind of went away from that for a bit. In some ways I feel like I’m back now."[4]


Lopatin expressed his desire to "make a hyperactive/depressive record"[7] and "conflate really aggressive music with sugary pop progressions."[10] In addition to the "cool, frictionless pads, airy choral presets, and [...] synthesized sounds" of R Plus Seven,[11] the album draws on metal, top 40 radio, EDM, alternative rock, industrial, and trance music.[7][12][13] It is the first OPN album to prominently feature "sung" vocals, which were rendered using the software instrument Chipspeech. The program allowed Lopatin to write lyrics and play them chromatically.[7] Sasha Geffen of Consequence of Sound noted nonetheless that "you only catch them in snippets inside the grotesque mesh of processing Lopatin’s used to filter them."[14] The Fader wrote that "the record, a meticulous collage of mutilated samples and computer-generated voices, careens between uncanny familiarity and total alienness."[5] The release was accompanied by a lyric sheet.[11]

Thump described Garden of Delete as "a guided tour through the producer's own psychological and physical experience of adolescence—filtered through the prism of his free-wheeling and future-gazing production style," writing that "there's beat programming that sounds like heavy metal drum fills on steroids; voices pushed to demonic, pitched extremes; testosterone-fueled guitar licks worthy of Slash himself."[9] AllMusic wrote that Lopatin "uses his music's porous boundaries brilliantly, whether he's fusing molten R&B with death metal's growls and rapid-fire kick drums on the standout "Sticky Drama," crafting dizzying juxtapositions and edits on "I Bite Through It"'s violent melancholy, or naming one of the album's most beautiful ambient pop moments after the child abuse documentary Child of Rage."[15] Scott Wilson of Fact characterized the album as "full of lurid electronic presets that sound like a guitar blasting out of a wall of amplifiers and palm-muted note runs that sound like painstakingly sequenced MIDI, a grotesque, sinewy collection of sounds that evokes the intertwined sensation of curiosity and disgust I felt browsing the horror section of my local video rental store as a child in the early 1990s."[16]

Promotional campaign

The release of Garden of Delete was preceded by an enigmatic internet promotional campaign devised by Lopatin in collaboration with friends. The album was announced in August 2015 via a series of internet posts originating from Lopatin's website, including a cryptic PDF letter to Lopatin's fans, which were followed by further material.[17][18] The project sketched out a loose fictional backstory involving Lopatin himself, an acne-ridden teenage alien blogger named Ezra, and a supposed 1990s band called Kaoss Edge.[11][19] It incorporated websites (Ezra's c. 1990s blog and Kaoss Edge's 'official' website), fabricated interviews, Twitter accounts, invented music genres (i.e. "hypergrunge") and teaser videos. Kaoss Edge's main website contains a repository of MIDI files (most from the album while others are transcripts of Allan Holdsworth's guitar solos), along with a band biography and discography with links to internet pages for unaffiliated cultural entities (i.e. flyers for prog rock band Rush, YouTube guitar tutorials) and other obscure information scattered around the site.[7][11][20]

Lopatin described the promo campaign as an attempt to “create a world where I can put into motion vague, interesting ideas, and see how they interact with each other," clarifying that "it’s not deeply plotted out, more of an ongoing experiment with the concepts floating around in my head."[21] The Quietus described the campaign as "like getting caught up in some late-night YouTube, Wikipedia rabbit hole of conspiracy theories and ill-advised medical self-diagnoses than a press release for an album, encouraging full submersion in something that was neither fact or fiction but had the quality of being somehow vital and totally necessary at that moment."[22] Philip Sherburne of Pitchfork Media wrote that "the loose, extra-musical narrative developed across a range of apocrypha that orbit the album [...] may all seem, from the outside, like so much masturbatory energy spillage, but dig deep enough, and they all become part of the larger work."[23]

The album's first single, "I Bite Through It," was released on September 3, 2015, and was followed later that month with the release of the album's MIDI files, with Lopatin encouraging fans to create their own songs from the material.[24][25][26] Second single "Mutant Standard" was released on October 21.[27] "Sticky Drama" was released on November 4, and accompanied by a two-part music video directed by Jon Rafman.[28] In Fall 2016, Lopatin premiered a music video for "Animals," directed by Rick Alverson and featuring Val Kilmer, at UCLA's Hammer Museum film series Ecco: The Videos of Oneohtrix Point Never and Related Works.[29]

Critical reception

Garden of Delete received generally positive reviews from critics. AllMusic's Heather Phares called the album "some of Lopatin's most intellectually engaging music as well as some of his funniest, darkest, and most cathartic."[12] Writing for Pitchfork, Philip Sherburne described the album as "absolutely gripping—strange, moving, hilarious, sometimes pushing the limits of good taste," adding that, "this time out, [Lopatin] ventures even deeper into the uncanny valley separating "real" sounds from mimetic ones."[23] In a positive review UK magazine The Skinny described Garden of Delete in contrast to OPN's previous work as a "seemingly aggressive record; muscular in tone, schizophrenic in delivery, all the while possessing a maniacal grin on its face," calling it "Oneohtrix’s anti-ambient record."[40] Tiny Mix Tapes called the album "an unruly masterpiece of pure synthesis occurring in a post-PC Music world," writing that "with Garden of Delete, [Lopatin] sets out to implode his art in a brilliant display of cultural denial, a reflexive operation that claims a 'total loss' of cultural net-worth by damaging itself with the same semiotic structures that it indicts."[38] Kyle Carney of Exclaim! wrote that the record manages to sound accessible despite its complexities, calling it "a sound collage like no other."[33] Under the Radar called it "a complex beast of shade and mood, and [...] Lopatin's best work yet."[41]

Writing for Consequence of Sound, Sasha Geffen called the album "OPN’s most emotional work to date and also his most ridiculous. Its tragedy is bound up with its humor; its sublimity comes from the places where it feels the most broken."[14] Uncut wrote that the album "ultimately dissolves into a beautifully arranged and slightly sickly morass of curdled pop tropes, out of which spurt a bodacious riff or glossy rave arpeggio. Oddly no-one does this better."[31] John Garratt of PopMatters described the record as "another adventure watching your own sense of subjectivity drown in a pool of confusion."[42] For The Line of Best Fit, Jennifer Johnson opined that "GOD isn’t about sensory pleasure. It’s about sensory gluttony, auditory overload, and revelling in the difficulty of its pacing," concluding that "It isn’t so much an album as a junk shop: that proverbial collection of oddities whose perceived value reflects more about the patron than it does the owner who placed them there."[43] In a mixed review, The Guardian's Paul McInnes wrote that "Lopatin is never quite able to stand still and enjoy some of the sounds he creates. This remains a project for only a very particular kind of pop picker."[44] In another mixed review, Dusted Magazine wrote that "at its best, you can get lost inside Garden of Delete’s rabbit hole of different directions and unexpected asides, but at other times it's easy to feel shut-out, as if you're looking in at someone's intellectual ADHD, but he's steadfastly refusing to meet your gaze."[45]


Garden of Delete was included as one of the year's best albums by a variety of publications.

Track listing

All tracks composed by Daniel Lopatin unless otherwise specified:

Sample credits

  • "ECCOJAMC1" contains a sample of "Solid Air" by John Martyn
  • "SDFK" contains samples of "Dream in White on White" by John Adams and "Brown" by Grotus
  • "Mutant Standard" contains a sample of "Funny kids being stupid with nothing better to do" published on YouTube by user TheDownunderpub
  • "Child of Rage" contains samples of an interview from the 1990 HBO documentary Child of Rage: A Story of Abuse, "My Love Is Like a Red Red Rose" by Michael Finnissy and "Cruel When Complete" by Dome
  • "Freaky Eyes" samples a portion of "Am I Supposed to Let It by Again (Above the Covers)" by Roger Rodier
  • "No Good" contains a sample of "Return of the Knodler Show" by Hans Reichel


Credits adapted from AllMusic.[52]

  • Daniel Lopatin – composer, producer, artwork
  • Paul Corley – mixing, additional production
  • Dave Kutch – mastering
  • Sebastian Krüger – photography
  • Andrew Stasser – design
  • Beau Thomas – vinyl cut


  1. ^ Fact | Oneohtrix Point Never unpicks the secrets of Garden of Delete
  2. ^ Loud and Quiet
  3. ^ Resident Advisor
  4. ^ a b c Skinny interview
  5. ^ a b c d The Fader
  6. ^ Stereogum
  7. ^ a b c d e f Bulut, Selim. "Oneohtrix Point Never: "So eerie and seductive."". Dummy Mag. Retrieved 11 March 2016. 
  8. ^ Rolling Stone | Hear Oneohtrix Point Never Glitchbanger From First 'Rock' Record
  9. ^ a b Freelander, Emilie. "Oneohtrix Point Never Told Us the Story Behind Every Single Track On 'Garden of Delete'". Thump. Retrieved 11 March 2016. 
  10. ^ a b Yoshida, Emily. "Getting to the thrash point: a conversation with Daniel Lopatin, aka Oneohtrix Point Never". The Verge. Retrieved 11 March 2016. 
  11. ^ a b c d Pitchfork
  12. ^ a b AllMusic
  13. ^ The 405
  14. ^ a b c Geffen, Sarah (November 12, 2015). "Oneohtrix Point Never – Garden of Delete". Consequence of Sound. Retrieved December 7, 2015. 
  15. ^ Phares, Heather. "Garden of Delete – Oneohtrix Point Never". AllMusic. Retrieved December 7, 2015. 
  16. ^ Wilson, Scott. "Oneohtrix Point Never unpicks the secrets of Garden Of Delete". Fact. Retrieved 11 March 2016. 
  17. ^ Fact
  18. ^ Stereogum
  19. ^ Fact
  20. ^ [1]
  21. ^ Suarez, Gary. "So, What's the Deal With Oneohtrix Point Never's Alien-Themed New Album? He Explains and Offers a Teaser". Vulture. Retrieved 11 March 2016. 
  22. ^ Smith, Karl. "Powers of Horror: Oneohtrix Point Never Interviewed". The Quietus. Retrieved 7 March 2016. 
  23. ^ a b c Sherburne, Philip (November 9, 2015). "Oneohtrix Point Never: Garden of Delete". Pitchfork. Retrieved December 7, 2015. 
  24. ^ Pitchfork
  25. ^ Rettig, James (3 September 2015). "Oneohtrix Point Never – "I Bite Through It" + Garden Of Delete Details". Stereogum. Retrieved 4 September 2015. 
  26. ^ Sherburne, Philip (3 September 2015). "Oneohtrix Point Never "I Bite Through It"". Pitchfork. Retrieved 4 September 2015. 
  27. ^ Monroe, Jazz (21 October 2015). "Oneohtrix Point Never Shares "Mutant Standard"". Pitchfork. Pitchfork Media. Retrieved 21 October 2015. 
  28. ^ Camp, Zoe (4 November 2015). "Oneohtrix Point Never Explores the World of LARPing in "Sticky Drama" Short Film". Pitchfork. Pitchfork Media. Retrieved 4 November 2015. 
  29. ^ "IN REAL LIFE: FILM & VIDEO, SCREENINGS Ecco: The Videos of Oneohtrix Point Never and Related Works". Hammer Museum. Retrieved 18 November 2016. 
  30. ^ "Garden Of Delete by Oneohtrix Point Never reviews". AnyDecentMusic?. Retrieved November 16, 2016. 
  31. ^ a b "Reviews for Garden of Delete by Oneohtrix Point Never". Metacritic. Retrieved November 11, 2015. 
  32. ^ Phares, Heather. "Garden of Delete – Oneohtrix Point Never". AllMusic. Retrieved December 7, 2015. 
  33. ^ a b Carney, Kyle (November 11, 2015). "Oneohtrix Point Never - Garden of Delete". Exclaim!. Retrieved January 4, 2016. 
  34. ^ MacInnes, Paul (November 26, 2015). "Oneohtrix Point Never: Garden of Delete review – the soundtrack to Justin Bieber's anxiety dreams". The Guardian. Retrieved November 26, 2015. 
  35. ^ "Oneohtrix Point Never: Garden of Delete". Mojo (264): 60. November 2015. 
  36. ^ Grant, Sarah (December 2, 2015). "Garden of Delete". Rolling Stone. Retrieved December 7, 2015. 
  37. ^ Garratt, John (November 9, 2015). "Review: Oneohtrix Point Never - Garden of Delete". PopMatters. Retrieved December 7, 2015. 
  38. ^ a b SCVSCV. "Oneohtrix Point Never – Garden of Delete". Tiny Mix Tapes. Retrieved December 7, 2015. 
  39. ^ Christgau, Robert (December 4, 2015). "Cybergrunge and Future Electronics: Expert Witness with Robert Christgau". Vice. Retrieved December 7, 2015. 
  40. ^ The Skinny
  41. ^ Under the Radar
  42. ^ "About PopMatters". PopMatters. 
  43. ^ The Line of Best Fit
  44. ^ "Oneohtrix Point Never: Garden of Delete review – the soundtrack to Justin Bieber's anxiety dreams". Retrieved 2015-11-26. 
  45. ^ Dusted Magazine
  46. ^ Dummy Mag - 30 Best Albums
  47. ^ Fact. The 50 Best Albums of 2015.
  48. ^ PopMatters 80 Best Albums
  49. ^ SPIN
  50. ^ "The 50 Best Albums Of 2015". 2015-12-01. Retrieved 2015-12-10. 
  51. ^ The Quietus Albums 2015
  52. ^ AllMusic
  53. ^ " – Oneohtrix Point Never – Garden of Delete" (in Dutch). Hung Medien. Retrieved November 21, 2015.
  54. ^ " – Oneohtrix Point Never – Garden of Delete" (in French). Hung Medien. Retrieved November 21, 2015.
  55. ^ "Garden of delete". Oricon. Retrieved March 5, 2016. 
  56. ^ Chart Log UK: "CLUK Update 21.11.2015 (wk47)". UK Albums Chart. Retrieved November 29, 2016.
  57. ^ "Official Record Store Chart Top 40". Official Charts Company. Retrieved March 5, 2016. 
  58. ^ "Oneohtrix Point Never – Chart history" Billboard Dance/Electronic Albums for Oneohtrix Point Never. Retrieved November 30, 2015.
  59. ^ "Oneohtrix Point Never – Chart history" Billboard Independent Albums for Oneohtrix Point Never. Retrieved March 5, 2016.
  60. ^ "Oneohtrix Point Never – Chart history" Billboard Top Heatseekers Albums for Oneohtrix Point Never. Retrieved March 5, 2016.

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