R Plus Seven
| R Plus Seven | ||||
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| Studio album by Oneohtrix Point Never | ||||
| Released | October 1, 2013 | |||
| Genre | ||||
| Length | 42:56 | |||
| Label | Warp | |||
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| Oneohtrix Point Never chronology | ||||
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| Singles from R Plus Seven | ||||
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| Professional ratings | |
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| Aggregate scores | |
| Source | Rating |
| AnyDecentMusic? | 7.7/10 |
| Metacritic | 81/100 |
| Review scores | |
| Source | Rating |
| AllMusic |   |
| Clash | 8/10 |
| Consequence of Sound |  |
| Fact | |
| Filter | 86% |
| Mojo | |
| Pitchfork Media | 8.4/10 |
| Rolling Stone | |
| The Skinny | |
| Spin | 8/10 |
R Plus Seven is the sixth studio album by American electronic musician Oneohtrix Point Never, released on October 1, 2013 by Warp Records. The album received generally positive reviews from critics and was included on year-end lists by publications such as The Wire, Tiny Mix Tapes, XLR8R, Pitchfork and The Quietus.
Following the synthesizer-heavy sound of early Oneohtrix Point Never albums and the sample based techniques of Replica (2011), the recording of R Plus Seven saw Lopatin work extensively and fully with MIDI instruments, synth patches and VSTs. It is the first Oneohtrix Point Never record not to feature Lopatin's signature Roland Juno-60 synthesizer. Lopatin would later describe it as a "calm" record influenced by his experience of "domestic bliss." He also confessed to being influenced by the ideas of object-oriented ontology. Discussing his approach, Lopatin explained
I've made vertically dense music in the past, and I more or less decided to do a record where I would flip that axis over this way [horizontally] and just excavate. So now I have a plane—a horizontal plane with very particular musical objects, in almost like a tableaux format. The objects themselves are very simple, but what they are doing, for me anyway, has an opportunity to be very complex.
The album draws on the synthetic and unique sounds of MIDI presets, as well as progressive composing methods and spoken word script samples. Regarding the sonic palette, Lopatin opined "I like to be manipulated by the sounds I'm using, and then struggle to find some sort of commonality with those things [...] when I play a pipe organ or have this like Hollywood choir at my disposal, it's going to tap into some kind of cliché matrix of ideas in my mind, and allow me to wrestle with it."
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