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Daniel Lopatin, aka Oneohtrix Point Never, is pretty prolific with his work. He has released a full-length album every year for the past four years running, and his newest EP, Commissions I comes only five months after the highly appraised R Plus Seven.

Commissions I, which is released as part of the Record Store Day 2014, is an incredibly complex, layered and contextual piece of work comprising of art commissions, where the background knowledge of the arts and artists with which it is associated prove to be equally important to understanding the music.

The church concert-like vibe that drips off the record delivers a hard-to-access but exquisite audio experience, cementing Daniel Lopatin's reputation as one of the most innovative and unorthodox electronic music producers currently out there. 'Music For Steamed Rocks' is a rearrangement of the renowned Polish composer and conductor Witold Lutosławski's work, produced for the composer's centenary celebrations. Lutosławski himself was highly novel and innovative, using polish folk music in a classical music context, and inventing new techniques like aleatory in order to have more freedom of creation.

This context provides a perfect canvas for exploring Lopatin's own experimentations with sacral-sounding, organ rich compositions with which he has flirted on many of his releases. As if finding inspiration from chorales, 'Music For Steamed Rocks' feels very spiritual and, like a hymn or an anthem, deeply evocative and moving. The fusion of contemporary classical music with the ambient electronica drone has created a fascinating arrangement, which goes through two distinct motions, giving it a dynamic feel. Fittingly suggestive of classical and choir-music, the first movement focuses on vocal synths that in a choir-like manner playfully experiment with the harmony. The composition is elaborate and progresses very organically throughout the track. What the first half of the song leads into is nothing short of amazing -- in the second movement, the gentle strings supported by low synths create an outstandingly beautiful harmony that simply leaves you in a state of enthralled affection.

'Meet Your Creator' is a composition produced for Saatchi & Saatchi's New Directors' Showcase in 2012 as the musical part of the Quadrator show -- an audio-visual performance utilising (rather fittingly, I might add) drones that dance around a pyramid. In the celebrated and impressive production, the flying robots move in synchronisation to Oneohtrix Point Never's music, creating a mesmerising interplay of sound and light. 'Meet Your Creator' is a conceptual and uplifting hymn, the mood and dynamic nature of which reflect its name. Sequentially, the nervy and alien-sounding arpeggios, dark drone sounds, ecstatic synths and symphonic organs lead towards the culmination -- the hopeful, harmonious and playful arpeggios, which seem to close the loop bringing the track back to the start -- all in sync with the visual play before your eyes.

'I Only Have Eyes For You' is a hypnotic cover of the 1934 pop classic produced by Harry Warren and Al Dubin. The production is relatively minimalist in its approach, focusing solely on the interaction between the atmospheric synths on the one hand, and the heavily layered and chopped vocal sample on the other. Commissioned for the multimedia artist Doug Aitken's happening installation Song 1 in the Hirshhorn Museum in Washington, 'I Only Have Eyes For You' plays its part in the spellbinding synergy created by architecture, film, sound and light. The calm and harmonising nature of the song, and the soothing and nostalgic vocals are able to induce a tranquil emotion, which counter intuitively, leaving you breathless by the sheer beauty of the track.

Commissions I is not just another EP to be released as part of the Record Store Day machine. The record is a thoughtful and conceptual collection of works worthy of praise. In short, Commissions I is conceptual art.

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