page_title: Garden of Delete
section_title: Background and recording
hierarchical_section_title: Garden of Delete / Background and recording
caption_attribution_description: English: OPN opening for NIN
context_page_description: Garden of Delete is the seventh studio album by American electronic musician Oneohtrix Point Never, released on November 13, 2015, by Warp Records. The album was preceded by an enigmatic Internet-based promotional campaign and draws on sources such as grunge music, top 40 radio tropes, and themes of adolescence and mutation. It received generally positive reviews from critics, and was included on year-end lists by several publications, including Fact, PopMatters, and The Quietus.
context_section_description: Following the release of his 2013 album R Plus Seven and work on several side projects, Lopatin was unexpectedly invited to support the rock bands Nine Inch Nails and Soundgarden on their 2014 joint amphitheater tour as a replacement for Death Grips. With the permission of Nine Inch Nails frontman Trent Reznor, Lopatin performed 30-minute opening sets of self-described "cyberdrone" to vexed arena rock crowds. The tour reunited him with the misanthropic 1990s grunge music of his teenage years and prompted him to reengage with his memories of adolescence and puberty, which he described as "pretty traumatic."
  
  Upon completing the tour and returning to Brooklyn, Lopatin rented a small, windowless basement studio and began recording new material. Drawing on his experiences touring, he noted that "a lot of my thoughts on the record were about dealing with puberty and how your pubescent body is essentially the staging area for all this mutation." Other inspirations included the video hosting service Vevo, satellite radio stations such as Ozzy's Boneyard and Lithium, and the writing of French philosopher Julia Kristeva (in particular, her influential 1980 essay Powers of Horror). About the latter, Lopatin explained, 
  [Kristeva] talks about the abject things that come out that we have desire to see. So the things that we try to contain within us is like this pre-semiotic reality and society is the way we want to present ourselves ... And yet, when the stuff comes out — like, you sneeze and you kind of want to look at the napkin for a second ... So I started thinking, that's a good formal constraint, like how do I kind of vaguely represent things that leak or things that are kind of disgusting but still seductive?
    In addition, the isolated recording environment encouraged an abrasive and dense sound relative to Oneohtrix Point Never's recent releases, with Lopatin stating that "I was making pretty aggressive, nihilistic stuff early on and kind of went away from that for a bit. In some ways I feel like I’m back now."
caption: OPN opening for Nine Inch Nails and Soundgarden on their 2014 arena tour.
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