"Negative space is so noticeable throughout Cold Mission because the moments when that calm is broken are shattered with such force: by fat fists of monochrome synth texture and sub-bass that knock the wind from your chest, by breaking glass, by vaporous melodies that dissolve into fine mist and drift in the air long after everything else has slunk back into the shadows again. You could still bust moves to much of the album in the mix, and Logos' 12" releases (including this year's towering 'In Reverse' with Mumdance) operate more clearly in a club music idiom, but as a standalone entity Cold Mission is a refreshingly daring prospect - a debut album from a dance producer containing comparatively little actual 'dance' music." - Rory Gibb
"Do you remember when you were young, lying on the grass during summer time, listening to how different things sound on a hot, still day? This has probably got something to do with heat affecting the vibration of air molecules, making it a better transmitting substance for sound waves, but whatever the reason, stuff just sounds magic on a hot summer's day. Can you remember someone watering their lawn a few houses down the street? Can you remember someone opening a can of lemonade, the hiss of carbonated bubbles going through a delicious phase effect as more liquid pours from the can, creating a longer echo chamber? Can you remember pouring space dust candy into your mouth and listening to the crackling and popping sound it made on your tongue; and how this phased up and down as you widened and contracted your mouth through various O-shapes?
Now, lie down on the couch, turn your phone off, close your eyes and play the glorious 'In The Liverpool Stream' and listen to the fizzing drinks, the hissing fauna, the mouth candy, the lawns being watered and instead of thinking, 'Fuck this, those dishes won't do themselves', just leave them for 40 minutes - you have my permission. Who knows, maybe this time they'll do themselves." — John Doran
"Over a relatively short time span, the internet has opened a whole can of new channels for the circulation and reception of music and, more than most, Lopatin's work has been at the centre of endless online discussion, speculation, and criticism. Ironically, a rather niche project like Oneohtrix Point Never arguably couldn't have found the audience it did prior to those new channels. An obvious talking point is that Lopatin makes easy work that relies heavily upon the facility afforded through technology – ultimately, and unlike the beatific, reflexive drift of his earlier work, R Plus Seven is music that's more programmed than performed. But behind that programming is a very human kind of agency, pushing the right buttons. Amidst an excess of prosumers, Lopatin proves here to be an actual pro." — Ryan Alexander Diduck