Oneohtrix Point Never - Measuring Ruins

JUL 01 2025 · 12:00

Oneohtrix Point Never - Measuring Ruins (2025) Director: Yoshi Sodeoka Era: Post-Internet Experimental Electronic (2025) - Late-period Warp Records avant-electronic, marked by a return to process-oriented sample library deconstruction and ambient-to-noise escalation structures High-tier archival value as a fully confirmed, officially released collaboration between two significant figures in experimental electronic and generative video art. The video functions as both a standalone artifact of 2025 avant-garde digital aesthetics and as a primary document of the Tranquilizer album's conceptual universe. Sodeoka's institutional recognition (MoMA, SFMOMA, Tate Britain) and Lopatin's sustained critical prominence ensure lasting research relevance. Context: Released October 27, 2025 as a single from Tranquilizer, Oneohtrix Point Never's eleventh studio album on Warp Records. The album's concept is rooted in a now-deleted archive of 1990s commercial sample libraries found on the Internet Archive, what Lopatin described as 'an index of cliches turned inside out.' This situates 'Measuring Ruins' within a broader discourse on digital archaeology, obsolescence, and the half-life of mediated memory. The pairing of Lopatin's process-oriented electronic composition with Sodeoka's generative, video-feedback-driven visuals creates a unified artifact of the post-internet avant-garde moment, two artists whose practices both interrogate the boundary between digital systems and human affect. Director notes: Directed the official music video for 'Measuring Ruins,' released October 27, 2025, as a single from Oneohtrix Point Never's eleventh studio album Tranquilizer (Warp Records, November 21, 2025). Sodeoka's portfolio page at sodeoka.com directly lists this video under his 2025 work. His approach, rooted in generative processes, video feedback, and psychedelic abstraction, is highly consonant with the track's compositional arc, which begins as a peaceful drone and escalates into rattling percussion and noise bursts. The high shot-change count (118 cuts / 184.85s) and warm-but-high-saturation palette are characteristic of Sodeoka's signature kinetic, neo-psychedelic motion graphics method, which he has described as creating 'mind-altering hypnotizing visuals' through the collision of analog feedback signals and digital generation.