Replica | ||||
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Studio album by Oneohtrix Point Never | ||||
Released | November 8, 2011 | |||
Studio | Mexican Summer Studios, Brooklyn, NY | |||
Genre | Ambient, plunderphonics, electronic, psychedelia | |||
Length | 40:54 | |||
Label | Mexican Summer, Software | |||
Producer | Daniel Lopatin, Joel Ford, Al Carlson | |||
Oneohtrix Point Never chronology | ||||
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Professional ratings | |
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Aggregate scores | |
Source | Rating |
AnyDecentMusic? | 7.7/10 |
Metacritic | 80/100 |
Review scores | |
Source | Rating |
AllMusic | |
The A.V. Club | B |
The Guardian | |
Mojo | |
MSN Music | A− |
NME | 8/10 |
Pitchfork Media | 8.8/10 |
Slant Magazine | |
Spin | 8/10 |
Tiny Mix Tapes |
Replica is the fifth studio album by American electronic musician Oneohtrix Point Never, released on November 8, 2011 via Mexican Summer and Software. Recorded with producers Joel Ford and Al Carlson, the album marks a stylistic shift from Lopatin's previous synthesizer-based works under the OPN alias, opting for a sample-based approach and drawing on lo-fi audio procured from 1980s and '90s television advertisements.
Upon release, Replica received positive reviews from music critics and subsequently featured in the year-end lists of the best albums of 2011 by several publications, including Resident Advisor, Pitchfork, The Boston Globe, and Tiny Mix Tapes. The album peaked in the top 10 of the Billboard Dance/Electronic Albums and Top Heatseekers Albums charts.
Replica was produced based around lo-fi audio from television advertisement compilations procured by Lopatin, who purchased a series of DVD compilations of 1980s and 1990s television commercials then proceeded to isolate the audio from the commercials, listening for sounds that would strike him as being "harmonically intense" and sampling them. Lopatin described the album as having "as much to do with environmental, broadcasted, and club sounds as it does with more direct musical influences." Asked why he opted to use commercials as sample sources, Lopatin described his process as "looking for old things that are meaningful" then "restructuring and rearranging it to interfere with the original narrative and creating this new poetry." His production process involved opening several music players simultaneously to listen to several sounds in tandem, which he described as "raw listening and sketching". Lopatin focused particularly on "strange pauses and little incidental sounds" found in the commercials to use as samples.