Oneohtrix Point Never Announces Good Time

Oneohtrix Point Never returns with his new album Good Time Original Motion Picture Soundtrack out August 11 on Warp Records. Rapturously received by Cannes’ film critics, Good Time is directed by Josh and Benny Safdie and stars Robert Pattinson (in a widely regarded career best performance) and Jennifer Jason Leigh. The hypnotic crime thriller follows Pattinson’s Connie in a twisted odyssey through the New York underworld in a desperate attempt to get his brother out of jail (watch trailer).

Oneohtrix Point Never received the prestigious Cannes Soundtrack Award at this year’s 70th anniversary edition of the festival for his visceral original score for Good Time. The artist was in competition with the likes of Jonny Greenwood, Jed Kurzel and Ibrahim Maalouf and took home the celebrated prize. Previous winners include Cliff Martinez for The Neon Demon (2016), Lim Giong for The Assassin (2015) and Howard Shore for Map to the Stars (2014).

An original song by Oneohtrix Point Never composed for the closing theme of the film, “The Pure and the Damned” features a guest vocal and lyrics written by Iggy Pop. Iggy’s voice is rich with uncomparable weight and wisdom on this stunning closer. The track is available immediately to buy and stream now from http://pointnever.com.

Daniel Lopatin aka Oneohtrix Point Never and the Safdie brothers became close collaborators through a shared love of cult genre movies and music, and their level of collaboration here has a rare depth of symbiosis of picture and score. Mundane events become dramatic, montages become mini operas.

With the soundtrack to Good Time, Oneohtrix Point Never has created a genuine listening experience rivalling the very best of his landmark studio albums. It also holds some of his most striking and complete individual moments; in addition to “The Pure and the Damned” “Leaving The Park” takes the classic arpeggio-laced crime scores of the 1970s and lends it the unique Oneohtrix Point Never stranger-beauty. Throughout the soundtrack, diegetic audio is interspersed and mutated in a natural foundation of Garden of Delete meets Rifts-era Oneohtrix Point Never sound palettes.

Quotes from the director and artist:

"About 8 years ago, we were turned onto the music of Oneohtrix Point Never. I had always imagined Dan's work, especially his earlier work, as soundtracks to movies that never existed. From our collaboration on Good Time, and through the twisted dialogue that surrounded it, we have gained a deep friendship and of course a fluorescent extra-terrestrial score. We set forth on that concept with Dan well before production and to hear it boom throughout Cannes... well it seemed like some sort of high-resolution fantasy." - Josh Safdie

"I had a good feeling when I walked into their midtown office, which was more like a shrine to everything they loved -- amongst which was a massive Akira print side by side with one of King of New York. They told me they were setting out to make a genre film. To me the Safdies are doing something really unique and yet drenched in tradition. I think of Jarmusch, Tarantino, Carax -- directors whose love of the history of cinema is too strong to keep out of the filmmaking itself, but remain totally idiosyncratic anyway. We share an affection and reverence for bruised and battered stuff, and I think we both feel this urge to enshrine the history as it is now, not as it was then. On our own terms." - Daniel Lopatin

Press reactions to the original score:

“Good Time looks terrific, bringing a scrappy sheen to the Safdies’ native borough. But more essential to its tight clench is the knockout underscoring, an almost nonstop blitz of intoxicating electronica from Brooklyn-based experimental composer Daniel Lopatin, who records as Oneohtrix Point Never. Lopatin also collaborated with Iggy Pop on an original closing-credits song, aptly titled “The Pure and the Damned.” Throughout, the prog-rock synth sounds conjure echoes of the vintage films of William Friedkin, Michael Mann and perhaps a hint of Assault on Precinct 13 John Carpenter, and yet the sonic carpeting never feels derivative.” - Hollywood Reporter

"It’s perfectly matched with the score provided by Oneohtrix Point Never’s Daniel Lopatin, which nods to Tangerine Dream–style VHS thriller soundtracks of yore while going someplace far more inventive and expressive than most current imitators. Lopatin’s anxious squiggles of melodies and sonic assaults give us as good a sense as any of what it feels like inside Connie’s head." - Vulture

“a 21st-century fast-food hybrid that mixes trash television and drug culture with Day-Glo-splattered night-time cinematography and throbbing synthesizers, thanks to a standout score from Oneohtrix Point Never.” - The Film Stage

"La bande-son elle aussi tourne le dos aux habitudes. Composée par le musicien électro Oneohtrix Point Never sur un mode qui oscille entre la prophétie de malheur et la rêverie, elle parfait la sensation de cauchemar éveillé qui finit par envahir le film." - Le Monde