Release Date: Apr 30, 2012
Record label: Tri Angle
“Whether the dreams brought on the fever or the fever brought on the dreams, Christopher Dexter Greenspan, a.k.a. oOoOO, did not know. Behind everything crouched the brooding, festering horror of the 'net and of the mouldy, unhallowed bedroom studio where he wrote and studied and wrestled with beats and formulae when he was not tossing on the meagre iron bed.
oOoOOOur Loving Is Hurting Us EP[Tri Angle; 2012]By Will Ryan; May 29, 2012Purchase at: Insound (Vinyl) | Amazon (MP3 & CD) | iTunes | MOGTweetThe impulse is to cast off oOoOO as a producer too tied to a bygone buzzed-about electronic music sub-sub-genre now two years in our wake. It's true, oOoOO's new EP, Our Loving Is Hurting Us, doesn't make much effort to pull the San Francisco producer from the decayed wreckage of the style of pliant-kneened, dystopic electro he helped create on his NoSummer4U mixtape and eponymous EP, both released in 2010 as witch house was cresting with groups like Salem, White Ring, and Balam Acab. Due to blog-genre, hype-cycle stigmas it's hard not to feel like Loving Is Hurting Us is DOA, but I kind of like witch house, even beyond the novelty, and I thought oOoOO, especially with tracks like "Burnout Eyes" and "Sedsumting", offered up something as keenly defined as Salem's "King Night" or Balam Acab's "See Birds", which are both still great cuts.
Our Love is Hurting Us is a somewhat frightening EP to listen to as oOoOO effectively conjure a feeling of impending doom that runs through all five tracks. Starting with the ghost vocal keyboards that play up the spooky atmospherics of opening track “TryTry” to the quiet contemplation of “Break Yr Heart”, this definitely isn’t accessible music. Every track features ambient washes and oddly disconcerting (and somewhat disconnected) drum track clicks.
When reading the name “oOoOO” phonetically, it obviously sounds ghostly. Something wicked this way comes with Our Loving Is Hurting Us, then. oOoOO, apparently pronounced as a not-drawn-out “oh”, is the moniker of San Franciscan producer Christopher Dexter Greenspan, whose brand of DIY electronic pop is more associated with witch-house than chillwave.
"It's kind of sticky, but what it boils down to is that today's innovation is tomorrow's cliché. What seems thrilling and new one moment will be inherently familiar and maybe even boring the next." That's Mike Powell, fielding a reader-submitted question regarding musical progression and innovation from Pitchfork's new mailbag feature, Inbox. Thanks in large part to the internet, the hype cycle's velocity can be so oppressive, mere curiosities can morph into punchlines literally overnight.
Over the past decade, electronic music has usurped indie rock as the (new) true DIY art form. That's why you might forgive critics and listeners for allowing releases like oOoOO's debut self-titled EP to be buried beneath the growing heap of homemade glo-fi, nu rave and witch house. It's only with the release of Christopher Dexter Greenspan's (aka oOoOO) follow-up that people have really found something to blindly point out.