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<\/figure>\n\n\n\nWhat music did you listen to while growing up? Which album still inspires you to this day?<\/strong> What has influenced your musical style the most?<\/strong> Your musical career is extremely prolific. From the beginning until now, how has your sound evolved and shifted across different genres?<\/strong> What specifically draws you to the \u201970s, \u201980s, and \u201990s?<\/strong> In the age of AI and the internet, how does information overload reflect in your creative process?<\/strong> In your view, what is the beauty of synthesisers?<\/strong> For Tranquilizer, how do you connect the archive of the commercial sample library to the present?<\/strong> How would you describe the spirits of commercial, functional music? How did you use custom software to rework on it?<\/strong> The album moves from the weightless calm of tracks like Lifeworld into more embodied territory in Cherry Blue and Rodl Glide. Can you walk us through the emotional or sonic arc you envisioned between these songs?<\/strong> What\u2019s the difference between working on your own projects and collaborating on pop music?<\/strong>Collaboration means compromise and empathy. Solo music is a conversation I can only have with myself and my heart.<\/p>\n\n\n\n Can you walk us through the process of creating an OST for a movie?<\/strong> Without spoiling the score, how does the OST for Marty Supreme all come together? Can you give us a hint of what it will be like?<\/strong> Last but not least, Long Road Home with Caroline Polachek is one of my favourites of all time. Can you tell us more about the story behind it?<\/strong> Image: Aidan Zamiri<\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" GQ Hong Kong interviews Oneohtrix Point Never on his latest album, musical inspirations, and his work on film soundtracks.<\/p>\n","protected":false},"author":13,"featured_media":34372,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[249],"tags":[],"authors":[],"class_list":["post-34616","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-lifestyle-en"],"acf":[],"yoast_head":"\n
When I was really young: Beatles, Stevie Wonder, Return To Forever, Mahavishnu Orchestra, Sting, in my early teens I listened to a lot of alternative rock. In high school a lot of hip hop and electronic music. DJ Premier\u2019s Crooklyn Cuts I-IV stays with me more than a lot of other stuff<\/p>\n\n\n\n
Music that I didn\u2019t choose to listen to.<\/p>\n\n\n\n
Boredom or burnout on one thing or other and switch gears, just like anyone else.<\/p>\n\n\n\n
70s’ melodicism, 80s’ technology and 90s’ attitude<\/p>\n\n\n\n
It\u2019s a colour I use to paint with.<\/p>\n\n\n\n
Its beauty is similar to the beauty of a loom, a brain, a concept, or a kitchen.<\/p>\n\n\n\n![\"\"](\"http:\/\/gqhongkong.com\/wp-content\/uploads\/2025\/11\/Copy-of-OPN_Scoopic_SELECT_00001-735x1024.jpg\")
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I\u2019m in the present so I\u2019m the connection.<\/p>\n\n\n\n
I don\u2019t use custom software I use regular everyday software like Ableton, samplers, plugins and other stuff anyone can get. The spirit of functional music is in their function. As a readymade object the artist manipulates the object to change its spirit.<\/p>\n\n\n\n
It\u2019s just intuition, and sequencing an experience that makes sense to me. But I wouldn\u2019t want to explain that, it\u2019s like explaining the plot of a movie that doesn\u2019t have any plot. It\u2019s meant to be felt not explained.<\/p>\n\n\n\n
I watch the film, I spot the film with the director, we commit to a list of cues for me to work on, and I begin to write \u2014 and there\u2019s a lot of discussion back and forth until the music is approved and it\u2019s time to mix the score, first for the film and then a whole other arrangement pass, mix and master to create the OST.<\/p>\n\n\n\n
I wish I could but it\u2019s a fantastic surprise and I\u2019ve very proud of it. It\u2019s the best score I\u2019ve ever made for Josh, and he very clearly has made the best film of his career.<\/p>\n\n\n\n
I made it during Covid, when I felt that a lot of people had strayed away from what home is really about, while being stuck inside their homes.<\/p>\n\n\n\n