Daniel Lopatin talks about his collaborations with the Weeknd and the Safdie brothers.
At the time, “I was trying to use sounds that I kind of deemed chintzy, borderline offensive,” Lopatin told me. He often sampled TV commercials from the eighties and nineties, excavated from YouTube. “All this detritus, I wanted to make something cool with it,” he said. “Being a latchkey kid, my memories were of commercials I saw between programs.
Lopatin is credited as one of vaporwave’s earliest practitioners; he is probably its inventor. The genre had an oddball moment in the sun in 2012, when Rihanna performed her hit “Diamonds” on “Saturday Night Live” before a projection of vaporwave-ish graphics: a weird neon peace sign, a ceramic bust, a checkerboard, a spinning globe, fractals, palm trees. The fact that “Diamonds”—a pop ballad—is not a vaporwave song, in any sense, doesn’t matter.
For the cover of “Again,” Lopatin commissioned an original piece by the Norwegian sculptor Matias Faldbakken after seeing his “Locker Sculpture #2,” in which a row of collapsing metal lockers are squeezed together by ratchet straps. It’s as though the lockers were being hugged to death. “Again” features an array of outdated computer speakers in the same state. “I was spending so much time at thrift stores, and I kept seeing these computer speakers in the little electronics section.
Josh Safdie recalled, “I briefly worked at a video store in Little Italy, and a CD-R sat on the player with the name of a friend who I used to cruise electronic music with. This was probably around 2008. Track twelve took the shop into a new place. I texted my buddy, ‘Who’s track twelve?’ and he wrote back ‘Oneohtrix.’ It was one of those words that you read but don’t say aloud. More like an image.” In 2015, when the brothers were looking to score “Good Time,” they reached out to Lopatin.
When the Weeknd was tapped to perform at the Super Bowl halftime show in February, 2021, Tesfaye asked Lopatin to be his musical director. “He said, ‘We’ll figure it out.’ That’s my language,” Lopatin said. The performance still feels singular among halftime shows. It was a dark and paranoid moment for the American psyche:was raging, and the Capitol had been breached the month before. Because of the pandemic, more than half of Raymond James Stadium, in Tampa, was occupied by cardboard cutouts.
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