13 Songs, 46 Minutes

EDITORS’ NOTES

Had he been making music a few decades ago, Daniel Lopatin, a.k.a. Oneohtrix Point Never, could’ve scored everything from Dune to Blade Runner. On Good Time, he tingles spines with unsettling, echo-chamber ambience (“6th Floor”), throws in some winking '80s nostalgia (cheesy electric-guitar sounds on “Bail Bonds”), and keeps you riveted with all kinds of buzzing synths and abrasive textures. But it's most rewarding when Lopatin honors his sci-fi/thriller-scoring forebears: The title track revels in the sort of arpeggiated, tension-ratcheting keys that would make Giorgio Moroder and Vangelis proud.

EDITORS’ NOTES

Had he been making music a few decades ago, Daniel Lopatin, a.k.a. Oneohtrix Point Never, could’ve scored everything from Dune to Blade Runner. On Good Time, he tingles spines with unsettling, echo-chamber ambience (“6th Floor”), throws in some winking '80s nostalgia (cheesy electric-guitar sounds on “Bail Bonds”), and keeps you riveted with all kinds of buzzing synths and abrasive textures. But it's most rewarding when Lopatin honors his sci-fi/thriller-scoring forebears: The title track revels in the sort of arpeggiated, tension-ratcheting keys that would make Giorgio Moroder and Vangelis proud.

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