Jeans by Calvin Klein.ĭaniel Lopatin: I’m in the Big Apple, baby.Ĭharli: I’m also in the Apple. ![]() Right: Customized Calvin Klein bra and underwear by stylist. Left: Customized Calvin Klein bra and underwear by stylist. “I had felt that a pattern was beginning to develop within my music, where fans knew what to expect, and I wanted to break that pattern.” The two musicians join Document to discuss embracing change, rejecting the limits of genre, and why house parties are a staging area for creativity. The pair first met at Charli’s home, where they sat on the floor and talked about love–a prevalent theme in Crash, which sees Charli and Lopatin collaborate for the first time. “It’s an attitude of bravery in the face of market-generating clichés from captured old braveries.” “Experimental isn’t a sound or difficulty level attributed to comprehending some piece of art,” he says. “I think a lot of my fans saw my early music as a rejection of the major label system, but it was more a hope of what pop could be-how challenging it could possibly be.” Lopatin agrees, noting that what is subversive changes in step with the musical landscape and one’s own artistic canon. “For me it’s about not falling into a pattern, not repeating what’s expected of me,” Charli says. In the years since they began making music, Charli and Lopatin have both redefined what it means to be “experimental” on their own terms. Released under a one-time pseudonym, Eccojams sees Lopatin sample micro-excerpts of ’80s and ’90s pop acts to create a unique compositional style the album’s artwork, which draws on graphical aesthetics from the ’80s, incorporates fragments of cover art from the Sega video game series Ecco the Dolphin. 1 a 2010 side project that has since been credited with the invention of the internet-based genre vaporwave. I liked to dig through the trash and find something special there, and I still do.” One such example is Chuck Person’s Eccojams Vol. “I was always into the buried treasure aspect of the internet,” he says. Lopatin’s mesmerizing soundscapes are rich with recontextualized samples that reify references from years past, evoking the relationship between sound and memory to become music that eludes definition. His prolific career was recently commemorated in an audiovisual anthology, Magic Oneohtrix Point Never (Blu-ray Edition), which showcases his past eight years of creative output across art, film, and animation. His sound has undergone several metamorphoses over the course of his career, from the deconstructed plunderphonics of Replica and R Plus Seven, to the heavy metal influences of Garden of Delete, to the symphonic cinematic scores he composed for the Safdie brothers’ films Uncut Gems and Good Time. The drive to embrace transformation is one she shares with electronic musician and producer Daniel Lopatin, better known as Oneohtrix Point Never. “Perhaps it’s a bit self-destructive when it comes to my personal life, but when it comes to creativity, I don’t think constant comfort makes for consistently good work,” she says. While Charli’s signature hooks and emotive songwriting evoke a sense of continuity, her pursuit of stylistic reinvention has been constant-a drive she attributes to her own hunger for challenge and novelty in all aspects of life. Now she’s at the cutting edge of pop music, having bridged experimental and mainstream sensibilities to create a sound all her own-one that has transformed time and time again, from her pop-punk beginnings to the experimental electronic stylings of her second EP, Vroom Vroom, to her recent foray into classic pop songwriting on her forthcoming album Crash. ![]() After releasing songs on Myspace in 2008, she soon gained the attention of club promoters and began performing at illegal warehouse raves in London as Charli XCX, a musical moniker deriving from her screen name on MSN Messenger. It was also her ticket to creating that kind of life for herself. Myspace was where I would go to watch people live lives I found more interesting than my own.” It was totally escaping from my normal countryside life. “I got obsessed with photos from parties in Paris or London, or places I felt I could never get to. ![]() “The internet was escapism to me when I was younger,” says Charli XCX. For Document’s Winter 2021/Resort 2022 issue, the musicians discuss the need for constant reinvention, growing up online, and why comfort doesn’t make for good creative work
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