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.