Having spent the run up to “Garden Of Delete” regaling us with an array of clues as to the album’s content from various points online that ranged from a PDF letter of cryptic quality addressed to his fans and an interview with an unidentified “alien collaborator named Ezra” and a website we now know as ( ;- ) for fictional 90’s “hypergrunge” band Kaoss Edge, the lead up to “Garden Of Delete” was, in many ways, a PR campaign that matches the music found within the LP, complex, mischievous and cutting edge in all the right places. Wearing the album’s influences of cybermetal and rock music on his sleeve, it’s on “Garden Of Delete” that Oneohtrix Point Never has crafted out what is no doubt a sure stand out and possibly the most certified vision of his music to date.
Blending the everyday inner-city amazement of James Ferraro and drawing lines between contemporary underground experimental producers reaching for bigger things such as the PC Music collective to the underground throw in all your influences instrumental grime scene. Fellow internet futurist William Gibson said the future is already here it’s just not evenly distributed but hearing “Garden Of Delete” with its almost EDM approach to more traditional dancefloor and mainstream pop sounds it digests so many different styles and returns them in a complex but highly rewarding body of work sculpted to include sounds distributed from a vast array of worlds.
Sure to stand the test of time as one of the absolute highlights of Warp‘s catalogue of records such as “Windowlicker”, “Garden Of Delete” is a textbook example of a true pioneer of a hypnotic groove flirting with troubled pop structures and giving results so far ahead of everything else in the game it will stay fresh for years to come while the rest of the world catches up.