porter robinson worlds porter robinson worlds album download ZIP NEW Download Porter Robinson – Worlds Remixed Album 2015. Track list: 1. Divinity (ODESZA Remix) (feat. Amy Millan) (5:26) 2. Sad Machine (Dean Custom Remix) (5:06) 3. Years Of War (Rob Mayth Remix) (feat. Breanne Düren & Sean Caskey) (3:55) 4. Flicker (Mat Zo Remix) (4:55) 5. Fresh Static Snow (Last Island Remix) (3:12) 6. Polygon Dust (Sleepy Tom Remix) (feat. Lemaitre) (4:07) 7. Hear The Bells (Electric Mantis Remix) (feat. Imaginary Cities) (4:45) 8. Natural Light (San Holo Remix) (2:55) 9. Lionhearted (Point Point Remix) (feat. Urban Cone) (3:25) 10. Sea Of Voices (Galimatias Remix) (3:01) 11. Fellow Feeling (Slumberjack Remix) (4:51) 12. Goodbye To A World (Chrome Sparks Remix) (6:13) Worlds (album) Worlds is the debut studio album by the American electronic music producer Porter Robinson, released on August 12, 2014 by Astralwerks in the United States and by Virgin EMI Records internationally. The album exhibits a shift in Robinson's music style from the heavy, bass-fueled complextro of his previous work to a more alternative form of electronic music. Contents. Background [ edit | edit source ] During 2012 and 2013, while touring extensively on his Language tour, the then 19-year-old producer began to grow increasingly tired of the current commercial EDM scene, feeling that it was inhibiting his creativity by being too formulaic, with the production process being centered around making "DJ friendly" tracks. He decided instead to create an album that was true to himself and that channeled his own feelings of nostalgia: particularly his interest in Japanese culture such as video games, anime and Vocaloids. He remained quiet about the album's production for a long time throughout 2013 and the beginning of 2014, performing DJ sets at festivals through the summer. On March 3, 2014, during the Oscars, he unexpectedly released the first track from the album, "Sea of Voices", which was available on SoundCloud and emerged into a worldwide trend on Twitter. This was the first track to exhibit his drastic change in style from his previous material, showing off an ambient style. He feared a backlash from long time fans, however the single was generally well received. This song is also featured in the soundtrack of NHL 15 on PlayStation 4 and Xbox One. On May 5, 2014, he announced the second single to be released from the album, "Sad Machine", to be released on May 13, 2014. This track was again a shift in style from "Sea of Voices", showing off a more typical EDM style, but used General MIDI sounds, similar to that heard in classic video games. The track utilized a Vocaloid, a heavily modified version of Avanna, modified by Robinson himself, for the vocals combined with his own vocals in a duet. Along with the release of the single, he also revealed the album would be released on August 12, 2014. On June 3, 2014, he announced the third single from the album would be "Lionhearted", to be released on June 17, 2014 in the United States and later in the United Kingdom by August 3, 2014. This track again shifted styles to a more synth-pop style, aided by the vocals of indietronica band Urban Cone. A music video, directed by Jodeb was also released for the track. It features Robinson and a group of Japanese girls walking around with weapons that turn objects into glitchy, retro effects. On July 29, 2014, the album's fourth single, "Flicker", was released along with a music video. The video is seen from a train window as glitchy effects akin to the "Lionhearted" music video take place on the passing landscape. On September 2, 2015, Porter Robinson announced a remix album of Worlds , to be released on October 2, 2015. It contains one remix of each song by different artists including Slumberjack, San Holo, and Odesza. Singles [ edit | edit source ] The album's lead single, "Sea of Voices", was released on March 3, 2014 for digital download. The song entered the Dance/Electronic Songs chart at number 28. The second single, "Sad Machine", was released on May 13, 2014 and features a duet between Robinson and a Vocaloid. It entered the Dance/Electronic Songs chart at number 29. The album's third single, "Lionhearted" features vocals from Urban Cone and was released on June 17, 2014. The song premiered as Zane Lowe's Hottest Record in the World on BBC Radio 1. The fourth single from the album, "Flicker", was released on July 29, 2014. The song premiered during Robinson's Essential Mix for Radio 1. Robinson has described it as a "hip- hop beat and a vocal that’s Japanese and really high-pitched". He used a chopped up sample from translation software. Tour and performances [ edit | edit source ] Robinson has stated that he does not wish to perform DJ sets at festivals any more as he does not want to alienate his fans and confuse them. He instead planned to create a live show, using live instruments and sampling. He premiered his live show in Vancouver on the Worlds North American Tour, which he announced on 15 May 2014. The tour started on 28 August 2014 and ended on 18 October 2014. Robinson also visited Australia as a part of the tour, playing a series of dates around the country as a part of the Stereosonic tour. Critical reception [ edit | edit source ] Professional ratings Aggregate scores Source Rating AnyDecentMusic? 6.4/10 Metacritic 63/100 Review scores Source Rating AllMusic Alternative Press Consequence of Sound C Las Vegas Weekly Pitchfork 6.9/10 Q Rolling Stone Spin 8/10 Uncut 6/10 Wondering Sound. Worlds has been met with generally positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 63, based on 8 reviews, which indicates "generally favorable reviews." Lucas Villa of AXS awarded Worlds with four out of five stars, writing, "[Robinson] taps into inspirations from video games and Japanese culture to deliver beautiful soundscapes full of emotional depth and electronic grandeur." Larry Fitzmaurice of Pitchfork gave the album a 6.9 out of 10, stating "Finding a middle ground between the synthetic surge of big-tent dance music and the tart melodic tendencies of Passion Pit, Robinson’s debut album drives home the reality that mainstream electronic music carries a certain sensitivity found in chart-topping smashes, zeitgeist-capturing Ultra Fest main-stagers, and sneakily successful soft-beat auteurs alike." He praised the tracks "Hear the Bells" and "Sea of Voices." noting that "Together, 'Hear the Bells' and 'Sea of Voices' make for two of the most transportive electro-pop singles of this year, a pair of unabashedly huge songs that, when caught in the right light, carry the potential to strike a personal chord for anyone who’s ever felt alive while looking at a city skyline at night." Elissa Stolman of Rolling Stone gave the album a 3.5 out of 5 stars, stating "Although it doesn’t sound quite like EDM, Worlds manages to retain the thrilling rush of emotions that the best raves inspire." A more mixed review came of Consequence of Sound 's Derek Staples, who commented on the album by saying "The idea of a new EDM renaissance is noble, but Robinson’s execution is frail." The album was ranked as the ninety-seventh greatest album of the 2010s by Billboard staff in November 2019. Track listing [ edit | edit source ] All tracks are written by Porter Robinson, with additional writers listed below. Album Review: Porter Robinson – Worlds. After months of waiting, several singles, and a suspenseful countdown via social media, Worlds is finally upon us. As a self appointed member of the #PRSquad, I couldn’t be happier to share this work of art with you! The full album has actually been available for streaming from BBC for over a week, but in case you haven’t discovered it yet, here’s a roadmap to guide you – and make sure to enjoy the Worlds artwork along the way! Divinity. “We will wait for this…” Divinity is the opening track to the album, and I can see why Porter chose this – it encompasses the general idea of his career in dance music so far. It’s hard hitting at first, choppy and full of bass and distortion, but it quickly turns into a ethereal vocal work before combining both in synthetic happiness. Sad Machine. “She depends on you…” Sad Machine, the second single from Worlds , is heavier on vocals than most tracks, but it’s definitely reflective of advancement in Porter’s personal and musical life. This is the first time that Porter has put his own vocals into the track, combined with that of a vocaloid. It also highlights some of his main influences by incorporating classic video game-ish MIDI sounds. Years of War. “Fight till we are no more…” This track is also heavier on the vocals, and could easily be the best Worlds track to use in a mainstream setting. I could picture this being Porter’s next single, and the baes will be singing along to this one at the live shows for sure. Flicker. “I’m just trying to find what’s really important to me…” Yeah, it’s a single, but I feel like this is going to be one of my favorite songs on this album. The syncopation in the beginning reminds me of 90’s R&B, and the whole track has a funky feel that any Kill Paris fan should appreciate. To get the vocal sample, Porter plugged “I’m just trying to find what’s really important to me” into a Japanese translator and chopped it up… making it meaningful and poppy at the same time. Love it. Fresh Static Snow. “Though I’ll never know your name, I’ll cry for you the same…” A little bit funky and downtempo with some ambience to boot; Fresh Static Snow inclusive of vocals but less so than other tracks. You can hear some of Porter’s former heavier style start to come out in this track, but the slow BPM’s, and another vocaloid appearance, and a very classical ending keep us in check. Polygon Dust. “Taking back what you’ve spent…” Evidence of video game influence is clear in this track as well, from the first eight beats. However, it wasn’t until I heard this song that I understood the comparison between Porter’s new album and M83, but the pop/ambient style of this track is definitely reminiscent of Midnight City. Polygon Dust is more synth-heavy than other tracks but at the same time kind of reminds me of Beautician by Dillon Francis at certain parts. Hear the Bells. “Can’t you hear the bells singing along?” Beautiful lyrics in this one (which is also extensive on the vocals), with a traditional 4/4 beat, and this is where I begin to pick up on Passion Pit-like qualities, with a more electro feel. Natural Light. No lyrics, and I feel like Porter would have had an amazing time making this, playing around with the syncopation and the plethora of different sounds that made it into the final cut. At just over 2 minutes, this one is the shortest track on the album but serves as a grab bag of fun for your ears. See how many different effects you can point out. Lionhearted. “They broke the walls we guarded, but we don’t care about it…” You should have heard this one already; it’s Porter’s third Worlds single and it’s catchy as all hell. Zane Lowe from BBC Radio 1 had it on his Hottest Records in the World list, so if Porter aims to not be “DJ friendly,” this probably isn’t the way to do it, seeing as how this track has been everywhere this summer. Sea of Voices. “We’ll see creation come undone… These bones that bound us will be gone.” I will never forget this song. Porter released this song earlier this year, at a point when my grandfather was in the hospital. He’s since passed, but I remember playing this for my mom and explaining how powerful it was for me in this situation. So few words, but such meaningful build and precise progression. It’s beautiful, and really should be considered a work of art. This is now my go-to song to disprove anyone who claims electronic music can’t have depth. Fellow Feeling. “And now, I cry… for all that is beautiful.” This track is clearly the most reflective of Porter’s internal conflict, and my favorite on the Worlds album. It begins with a symphonic build, only to be destroyed by a harsh four-on-the-floor beat into a hardstyle section that’s very reminiscent of Porter classics like Say My Name or Spitfire. The symphony then returns and has to battle synth stabs throughout the remainder of the track, perfectly equating to Porter’s increasingly public psychological struggle with the industry he’s in. Goodbye to a World. “Though it’s the end of the world… don’t blame yourself…” A perfect closer. Lots of MIDI sounds in this one, bringing it back to his video game roots again. After previous two tracks, I’d say its smart to use this track as a comedown and close on a high note (Sea of Voices and Fellow Feeling are both pretty emotionally heavy). This one’s poppy and vocaloid laden and I love the ending… were we listening to people at all this whole time?! Maybe Porter is a robot. So, there you have it, ladies and gentlemen. That was Worlds . Another review suggested that Porter “ditch the indie-pop crutch,” and I have to respectfully disagree. I don’t think Porter intentionally manufactured his songs to sound like M83 or Passion Pit, or any indie pop for that manner. You could technically argue this for any artist – is DJ Snake’s success due to a hip-hop crutch? Anyway, Porter’s pretty strongly against certain aspects of the EDM industry, and he’s incorporating new techniques and sounds into his work that represent growth from previous endeavors. He’s evolving, not using a crutch, and he should evolve as he sees fit. Porter originally got into making music through video games, and this album is a huge step for him, displaying hints of funk, thriving chords and impressive progressions, and a general transcendence back to true music, rather than just noises made by a computer. I am in love with Worlds , and I hope you are too – click any of the pics to link to iTunes and buy the album yourself. First Listen: Porter Robinson, 'Worlds' Porter Robinson's new album, Worlds , comes out Aug. 12. Rachel Epstein/Courtesy of the artist. The rapid ascent of Porter Robinson, one of the promising young practitioners of electronic dance music, runs parallel with the genre's explosion in popularity in the U.S. Robinson is already headlining major EDM festivals, and with his debut album Worlds , he pivots away from trends to explore a virtual fantasy world inspired by video games and anime . Worlds careens between subtle orchestration and electronic saturation, held together by melody and a running narrative provided by numerous artificial-sounding voices. "Lionhearted" is the most fully formed pop song on the album, featuring the vocals of Sweden's Urban Cone and employing the sort of huge synth riff you'd hear at a rave, cleverly arranged as the chorus. Robinson is especially skillful at writing melodies that can be arranged in multiple ways. Some of Worlds ' finest moments arrive in quiet orchestral sections that hint at some imaginary science-fiction film score. At 22, Robinson is just beginning to build a recorded foundation, but he's already made an album with a strong identity and an emotional arc — and he's already imaginative enough to draw from a frenetic world to find reflection and hope. Worlds: Porter Robinson’s Artistic Rebirth [Album Review] 1 – Divinity is the first track, and it serves as a great introduction to the overall concept of the album. You can hear detailed synth layers combined with elegant composition and dreamy vocals by Amy Millan . The chord progression is somewhat reminiscent of Sea of Voices (which you will find is a common theme across tracks in the album), but overall Divinity does a good job preparing the rest of the album. 2 – By now we should all be familiar with the second lead single from Worlds, Sad Machine . Featuring a female Vocaloid role in addition to Porter’s own vocals, Sad Machine actually tells a story; according to Porter, the vocal duet depicts “a lonely robot girl and the human boy who encounters her”. This is one track from the album where the vocals play an arguably larger role than the underlying layers. 3 – The third song on the album, Years Of War , begins with a Unison-like lead sound and grungy rolling bass that continue throughout most of the track. Breanne Duren sings the first verse, and joins Sean Caskey for the main verse before the chorus comes back. The song finishes with smooth electric piano chords, leaving the listener with a sense of closure. 4 – Flicker was released as the fourth lead single from Worlds, which makes sense; the Japanese lyrics Porter included in the beginning are representative of his taste in Japanese culture and the influence of said culture on the creation of Worlds, and Flicker is as good of a song as any to introduce his fans to this influence. After an introduction with the aforementioned lyrics accompanied by some tasteful guitar loops, a rhythmic synth-driven groove comes in, followed by a hard, Justice-esque electro interlude. Flicker probably best embodies Porter’s aesthetic, one which is revered by his followers. 5 – Speaking of hard, Justice-esque electro: the fifth track, Fresh Static Snow , starts off in almost that exact same manner. We’re then reintroduced to the robotic Vocaloid style from Sad Machine, but with a different personality which, with noticeable distortion, makes for an entirely new character. Despite what the name may suggest, this song sounds more dirty and grungy than it does “fresh” or “snow”-like. 6 – Porter has previously expressed his interest in Norwegian duo Lemaitre ’s music, and is bringing them with him for many of the shows on his Worlds tour, so it should come as no surprise that he’s collaborated with them on Polygon Dust It’s not entirely clear at this point whether Lemaitre simply provided vocals, or if they in fact co-produced the track itself. Regardless, in my opinion Polygon Dust has one of the more memorable melodies on the album, and when paired with the tasteful vocals, it makes for a very well put together track. 7 – On the contrary, I find Hear The Bells to be one of the less memorable tracks from the album. The combination of the atmospheric vocals from Imaginary Cities with the half-present melody results in what feels like a “filler” song; it no doubt has its place in the album, and absolutely contributes to the overall concept, but it can hardly stand on its own, with nothing to truly set it apart. However, that’s not to say that it isn’t still good music. 8 – On that note, Natural Light is actually even less memorable than the previous song; although in this case that seems to be the point. At only 2 minutes 21 seconds long, and with no vocals, this truly is filler material. Again, as was the case with Hear The Bells, Natural Light surely contributes to the vibe of the album, and Worlds likely wouldn’t be the same without its experimental sound, but don’t expect to have this one on repeat. 9 – What else is there to say about the next track that hasn’t already been said? As the third lead single, Lionhearted is noticeably “poppier” than any of the other songs on the album, without sacrificing composition or arrangement; the melody is easily one of the most memorable on the album, as are Urban Cone ’s vocals, but the vocals and synths mean the song doesn’t stand out as being too vastly different from the sound Porter has developed through the album thus far. Lionhearted has been hailed as a favorite from the album for many listeners. 10 – Sea Of Voices was the public’s very earliest taste of Worlds when it was released as the first lead single back in early March. Although it was initially met with mixed reactions from Porter’s fans, I would argue that Porter made the right choice releasing it when he did; he has allowed his followers and listeners to prepare for his new style and adapt appropriately, surely gaining plenty of genuine fans in the process and losing the interest of those who could care less for anything that doesn’t go off at a festival. In my opinion, Sea Of Voices portrays Porter’s newfound outlook on music, and ultimately, the Worlds concept, better than any of the other tracks on the album. 11 – Now, onto my personal favorite, Fellow Feeling . Beginning with an incredibly well-written duet between piano and string ensemble (as teased in the original 10-hour announcement video), Porter has demonstrated his amazing diversity and musical skill in Fellow Feeling, transitioning seamlessly from an orchestral intro to a driving, glitchy, experimental, industrial, you-name-it electro beat, preceded by whispery poetic phrases. After another strings interlude, Porter employs many of the same tactics as he did in Language; grimy electro sounds during the buildup and massive chords and leads during the progressive drop. Although not necessarily the epitome of Worlds, Fellow Feeling showed just how diverse Porter is in his abilities as a musician and producer, and as the penultimate track on the album, gives a sense of finalization to the journey. 12 – The aptly named Goodbye To A World is the final work on Porter’s debut album, and it definitely feels like a proper conclusion. Interestingly, the last impressions Porter gives to the listener include a relaxed beat (which bears a striking resemblance to RAC ’s Sea Of Voices mix), a fairly energetic progressive/electro drop powered by strong 8-bit chords, and one final use of glitchy Vocaloid verses. Although one might not at first find similarities between Goodbye To A World and a track such as Flicker, by the end of the album it is quite apparent that Porter has carved out his own sound. After listening to the album in full more than three times, I think Porter has a winner on his hands with Worlds. Although certain tracks stand out more than others in originality, memorability, and overall quality, there are enough redeeming qualities about the music itself to warrant a recommendation to any electronic music fan. Plenty have said Porter is “changing dance music as we know it”, but I would have to argue that he’s simply doing a very different style and it’s only because of his rise to fame within EDM itself that he is viewed as a “trailblazer”. I’ve likened Worlds to Avicii ’s 2013 album, True , in that the concept of stretching boundaries is not new, but the content itself is. Virtually none of the tracks on Worlds would “work” in a modern EDM environment, but that’s a moot point, as Porter is taking an entirely new approach to his music, while his fans join the ride. Overall, Porter Robinson’s Worlds delivers rich and detailed songwriting, advanced sound design, and plenty of other elements that make this album stand out.