Oneohtrix Point Never: electronic music and visuals at the Teatro Romano for the Festival dei Due Mondi

Having successfully closed the first weekend, Spoleto is preparing for the arrival of Daniel Lopatin, aka Oneohtrix Point Never, expected Wednesday, July 3 at at 21 at the Teatro Romano for an Italian premiere electronic music concert event at Festival dei Due Mondi, a new stop on a world tour that has also taken him to Coachella in California and Sonar in Lisbon.

Electronic music returns to the Teatro Romano - after Max Cooper sold out last year's edition-with one of the one of the world's most influential musicians: in ten years Daniel Lopatin has collected collaborations with artists such as Rosalía, FKA Twigs, Nine Inch Nails, with filmmakers Josh and Benny Safdie, was The Weeknd's producer for After Hours and Dawn FM, two of the best-selling pop albums of the decade. For The Weeknd, he also handled the musical direction of the Super Bowl 2021 half-time show. to Spoleto Lopatin presents his new record Again, in which he draws on the musical ferment of the 1990s and 00s, between alternative rock and post-rock. Projected against the backdrop of the Teatro Romano, visuals by digital artist Freeka Tet (along with digital animations created by video artist Nate Boyce) accompany OPN's music and lead the audience through a surreal meta puppet show. All seasoned from fragments of cartoon images and pop culture references-a collage that strikingly reflects the swirl of sounds and unpredictable rhythms of Oneohtrix Point Never's music.

Born in 1982, the U.S. producer has built his reputation by writing elegiac and otherworldly electronic compositions. to Brooklyn, in the epicenter of the U.S. independent scene, in just a few years he has become a cross-genre reference for many bands, not only in the electronic sphere. Rolling Stone called it the "black beast of contemporary electronica." Between ambient, noise, and ecstasy-and a debt at least theoretically to Edgar Varèse-his music has a strong experimental edge that combines sounds of the past and present. It does so in a way that is at once familiar and chimerical, strange but laden with wonder; pop influences and heady rhythms make it always accessible; when it includes lyrics, they rarely have a confessional character but the disruptive force of fixing the tenuousness of our bonds. "The quantum leaps of technology put us to constantly confronting the gulf between what is real and what is less real." Oneohtrix Point Never speaks directly to this new sensation: the ease and euphoria of it, but also the hazy boredom of an ersatz, disembodied facsimile of life. Critic Simon Reynolds said of OPN: "It's hard to think to another contemporary musician who approaches the experience of hyper-modernity -- living and dying on the Internet -- with the same precision or compassion. Lopatin has found a way to make the fragmented experience of our current age not only beautiful, but true."

Again is his tenth record, the fourth in the new creative phase that in 2015 saw the release of Garden of Delete, which combines cultured electronica with industrial music and dirty, messy techno heard from Lopatin from as a teenager, and moves on from the subsequent Magic Oneohtrix Point Never and Age of . In Again he draws on the musical ferment of the 90s and 00s, between alternative rock and post-rock. These are not ghosts from the past; Lopatin turns his gaze to the future, mixing promises, hopes and threats.