Worlds (Porter Robinson album)

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Worlds
A drawing of a purple hand holding a cube, with the sky behind it. Above the hand, the text "Porter Robinson", "Worlds", and Worlds's logomark.
Studio album by
Porter Robinson
ReleasedAugust 12, 2014
GenreElectropop
Length57:49
LabelAstralwerks
ProducerPorter Robinson
Porter Robinson chronology
Spitfire
(2011) 		Worlds
(2014) 		Nurture
(2021)
Singles from Worlds
  1. "Sea of Voices"
    Released: March 2, 2014
  2. "Sad Machine"
    Released: May 13, 2014
  3. "Lionhearted"
    Released: June 17, 2014
  4. "Flicker"
    Released: July 29, 2014

Worlds is the debut studio album by the American electronic music producer Porter Robinson, released on August 12, 2014, by Astralwerks. Initially known for his heavier bass-centric production, Robinson became increasingly dissatisfied with the electronic dance music (EDM) genre, realizing it limited his artistic expression. In 2012, Robinson released his first song with a greater emphasis on melody, "Language". Thereafter, he wanted to prioritize "beauty" and "emotion" in his music.[1][2] He was inspired by elements from video games, anime, and movies, as well as nostalgia, including sounds from 1990s video games.

Described as electropop, Robinson's main inspirations for Worlds were Daft Punk's Discovery (2001) and Kanye West's Graduation (2007), with critics noting similarities to the sounds of M83 and Passion Pit. In late 2013, a bidding war ensued to determine the label which was to release the record. The album was promoted with four singles: "Sea of Voices", "Sad Machine", "Lionhearted", and "Flicker", and promoted with a tour. Worlds was well-received by critics, and was retrospectively noted for its impact on the EDM scene. Following the album's positive reception, Robinson felt under pressure to write an appropriate follow-up work. As a result, he experienced a period of writer's block and depression, leading to the seven-year wait for his next studio album, Nurture (2021).

Background and development

Further information: Porter Robinson § Career

I feel more strongly about this music that I've written for this album than anything I've ever done in my life. I think it would be doing myself a disservice not to say that overtly. If I didn't totally believe in this, then no one would ever hear it.

—Porter Robinson, 2013[3]

complextro music, such as the 2010 single "Say My Name" and the 2011 extended play Spitfire;[4][5] Robinson described his initial sound as "very heavy" and "bass-aggressive".[6] "Say My Name" topped Beatport's electro house chart, while Spitfire caused the website to crash after being promoted by Skrillex and Tiësto.[6][7]

Across 2012, Robinson performed at major

Inthemix, Robinson said: "By trying to incorporate DJ-friendly and dance-friendly elements into my music, I was often compromising and making songs worse."[6][10]

Robinson conceived the idea for Worlds in 2012 following the release of "Language",[6] his first song to have a greater emphasis on melody.[5][11] Although the song was a departure from his earlier sound, "Language" was accepted by audiences, surprising Robinson.[6] As a result, he decided to prioritize "beauty" and "emotion" in his music,[12] which became his first principles for Worlds.[1][2] He also considered it necessary to be "sincere" and "honest".[13][14] Instead of focusing on club-friendly music, he decided to create the music he wanted to hear and felt needed to exist.[15] In 2013, he released "Easy" with Mat Zo, which Andy Kellman of AllMusic described as "one of 2013's most memorable commercial dance singles".[16]

Robinson moved to his parent's home in Chapel Hill, North Carolina, and spent a year revisiting soundtracks of Nintendo 64 video games from the 1990s and 2000s.[7] Robinson produced the album in FL Studio, and notes that he wrote around 50 tracks for the album, which were later narrowed to 12.[17][18] In a May 2013 interview, Robinson said he had set July as the deadline to finish the album, and that the title still hadn't been chosen.[19] When Robinson signed with Astralwerks in November 2013, the album was in a near-complete state.[3] After its completion, Robinson named Worlds his favorite project.[20]

Composition

Porter Robinson stands at a table with a brightly-lit screen; another screen is behind him
Robinson performing in 2013

Robinson was inspired by themes of fantasy, escapism, fiction, and nostalgia.[14] He said that Worlds is not associated with, nor has a place in, reality,[7][21] stating in an interview with Billboard: "It's about escapism and fantasy. It's meant to evoke worlds you experience in literature and games and movies".[7] Fiction had a notable impact on the record, with Robinson incorporating science fiction and fantasy elements from video games, anime, and movies.[22] Robinson's experiences with massively multiplayer online role-playing games (MMORPGs) and associated nostalgia were an influence. He explained that he admired the worlds these games provided, Star Wars Galaxies (2003) in particular,[6][23] and was affected by how dwindling playerbases and bankruptcies eventually brought them offline.[21][22][24] This was how Robinson chose the album title "Worlds".[25]

Robinson used General MIDI sounds that resembled the music of Nintendo 64 and PlayStation video games,[26][24] including those he played while growing up in the 1990s, such as The Legend of Zelda: Ocarina of Time (1998),[27][28] which evoked childhood nostalgia for Robinson.[28] By emulating the "slight[ly] sad vibe" of the stories that inspired him, Robinson wanted to give the album a retrospective and emotional atmosphere.[22] Daft Punk's Discovery (2001), an album Robinson considers the best of all-time, was his biggest influence for the record, with Kanye West's Graduation (2007) in second.[22] Multiple critics noted that the album's sound resembled M83[11][29][30][31] and Passion Pit.[11][29]

Larry Fitzmaurice of

Wondering Sound noted that, in contrast to the typically higher tempos of EDM, much of Worlds is at a lower, ballad-like speed.[35]

Songs

Tracks 1–5

Worlds opens with "Divinity", which contains vocals by Canadian singer

Wondering Sound said that it features common characteristics of EDM, such as "a walloping beat, a wall of synths [and] a breathy female cameo",[35] while Elissa Stolman of Vice described the track as an indie-electronic "festival rave anthem", with synths that resembled M83's "Midnight City" (2011).[33] Alternatively, Rupert Howe of Q found similarities to electronica and M83-like space rock.[38]

"Sad Machine"
On "Sad Machine", Robinson duets with
Avanna, a Vocaloid voice.[7]
Problems playing this file? See media help.

The next track, "

Avanna, a Vocaloid voice, as the song's lead singer.[7] With a mid-tempo instrumental and "starry-eyed melodic structure", Larry Fitzmaurice of Pitchfork considered it among the several tracks on Worlds which resembled the "high-wire synth-pop fantasias" of Passion Pit,[11] while Las Vegas Weekly's Mike Prevatt identified inspirations from M83 and Sigur Rós.[40] Lucas Villa of AXS said that the track goes to the "dreamier side of electronic music", describing it as "heroic and awe-inspiring".[41] The third song, "Years of War", features Breanne Düren of Owl City and Sean Caskey of Last Dinosaurs. Pursuing a "cutesy synth-pop thing", Robinson said it was the hardest he had ever worked on a song.[36] It leans into electropop,[32] synth-pop,[38] and new wave.[33][42] The song's main instrument is a trance synth; Stolman felt that this contemporary element contrasted with the song's retro elements, listing among the latter a "boom-clap beat" and "sepia-toned synths".[33]

The song is followed by "

Consequence of Sound's Derek Staples,[29] Stolman described the song as a "coiled, metallic guitar squall" which goes to "midrange bass grit" before finally presenting a "celestial breakdown" with "sad robot vocals".[33]

Tracks 6–12

The album's sixth track, "Polygon Dust", is a collaboration with Lemaitre, a band Robinson liked.[36] A trance synth is its main element. Stolman described the track as one of the safest of the album, containing natural vocals as opposed to "Sad Machine" and "Fresh Static Snow", as well as calmer synths.[33] It is followed by the song "Hear the Bells", which features Imaginary Cities. It is a cover, or remix, of a preexisting song by the band,[36] "Bells of Cologne".[43] Robinson felt that the song is where he sings with the greatest stage presence.[36] Kamps thought the vocal choir was "fantastical and defiantly cheery",[31] while Stolman wrote that the song contains layered indie vocals and emotional lyrical themes.[33] Fitzmaurice said that "Hear the Bells" has a good amount of "rocket fuel" due to its "rippling electronics" and "anthemic synth".[11]

"Lionhearted"
"Lionhearted" is the first track on Worlds to exhibit a faster tempo.[33]
Problems playing this file? See media help.

"Natural Light", Worlds's eighth track, is an interlude. Robinson enjoyed the track due to its intelligent dance music (IDM) passages inspired by artists such as Aphex Twin and Venetian Snares.[36] Stolman commented that, despite its "surging bass, tinny drum hits, vocal snippets, and twinkling keys", the track could be called minimal in the context of the album.[33] The ninth track is "Lionhearted", which features Urban Cone. It was one of the first tracks Robinson wrote for the album, describing it as "anthemic".[36] Critics noted that this was the album's first display of a faster tempo,[33][35][41] being described as "exuberant pop" by Kamps.[31] Prevatt noted similarities to the sounds of Passion Pit and Holy Ghost!.[40] The next song, "Sea of Voices", went through multiple iterations before its release.[36] A five-minute orchestral track,[32] its first minutes contain no drums,[32][33] being only composed of synths reminiscent of atmospheric big room.[33][41][42] Noting the late introduction of beats, Buerger said the track has "the emotions of a tear-jerking blockbuster".[32] Kamps found the build-up similar to ones by Sigur Rós.[31]

"Fellow Feeling" is Worlds's penultimate track. It features moments of stark contrast; Robinson wanted to juxtapose what he felt was "beautiful and serene" with "something that was really violent and loud". He felt it was a way to criticize the EDM formula.

electro funk", according to O'Connell.[34] Villa described it as the album's most climactic moment.[41] The album's final track, "Goodbye to a World", is the third to use Avanna.[7][36] Robinson wanted the feeling of a "beautiful apocalypse" for the song.[36] It has lullaby-like moments[30][33] as well as others of what Stolman described as "fist-pumping brutality".[33] Howe described the song as "Sigur Rós for the post dubstep generation",[38] while Staples described it as "modern breakcore".[29]

Release and promotion

An emoticon of a frowning face
The Fader's Duncan Cooper felt that Robinson had "made [Worlds's logomark] his trademark".[6]

Following a bidding war over the record, it was announced on November 14, 2013, that Robinson had signed a deal with Astralwerks; Worlds would be released through their Capitol Records imprint in the US and their Virgin EMI Records imprint internationally. Robinson chose Astralwerks because it wasn't an EDM label.[3] On February 10, 2014, Robinson released a promotional video revealing the title of the album. It features a robotic voice saying worlds on loop for ten hours. Robinson stated that he disliked marketing campaigns that were "wishy-washy", and attempted to make all his work "feel pretty intentional".[44]

On a distant stage, many lights shine outward, and Porter Robinson is silhouetted against a screen depicting the sky and floating cuboidal structures.
Robinson performing on the Worlds Live Tour in 2014

Astralwerks wanted to release "Shepherdess"[a] as the album's first single, which Robinson described as the "most EDM thing" he had done since 2011. He decided to instead lead with "Sea of Voices", the "least accessible to fans of dance music", according to him.[18] The single was released on March 2,[47] shortly before the 86th Academy Awards. "Sea of Voices" became a trending topic on Twitter and received positive reactions from fans, contrary to Robinson's expectations.[7][39] Though originally intending "Flicker" to be the album's second single, Robinson changed it to "Sad Machine" three days beforehand, which he claimed caused "mayhem" at the label. "Sad Machine" was the last song written for the album, and Robinson said he "knew [it] needed to be the next one that was put out" after having completed it.[18] "Sad Machine" was premiered by The Fader on May 12, 2014, and was released elsewhere a day later.[39][48] A lyric video was released on May 21.[49]

On June 3, Stereogum premiered Worlds's third single, "Lionhearted", which features Swedish band Urban Cone.[50] It also debuted at BBC Radio 1.[51][52] It was officially released on June 17, accompanied by a music video featuring Robinson and a group of women "wreak[ing] havoc around the city streets, resulting in an eruption of [color]", according to Mixmag's Carré Orenstein.[53] "Flicker" was premiered on July 28 by Vogue,[54] being officially released the next day as Worlds's fourth and final single.[55] An official music video was released on August 14. The video is set by a train window as glitchy effects occur on the passing Japan-like landscape.[56]

In July, Robinson announced a limited edition box set of Worlds containing bonus remixes and tracks.[45] On August 4, the album was premiered by NPR as part of their "First Listen" series.[57] It was fully released on August 12, 2014.[58] On October 2, 2015, Porter Robinson released Worlds Remixed, a remix album of Worlds involving artists and producers such as Mat Zo, Odesza, Sleepy Tom, Galimatias, and San Holo.[59] The album's visuals were illustrated by the artist David Aguado.[60]

On August 12, 2020, Robinson revealed that another song, "Hollowheart", was supposed to appear on the album, but that he "submitted it too late". He intends to release it on August 12, 2024, Worlds's tenth anniversary.[61]

Tour

In May 2014, Robinson announced a North American tour for Worlds, which spanned from August 28 to October 18,

LED screens containing video game-like, pixelated worlds.[64] Its visuals were managed by the company Imaginary Light Network.[60]

Critical reception

Professional ratings
Aggregate scores
SourceRating
Wondering Sound
[35]

According to review aggregator

weighted average score of 63 out of 100 from 8 critics scores,[66] while, on AnyDecentMusic?, the album received a rating of 6.4 out of 10 from 7 critic scores.[65]

Some reviewers praised Worlds's innovation.[31][32][41] Lucas Villa of AXS felt that Robinson went "above and beyond" by creating a "full-on experience" moreso than just an album, "boldly [going] where no other DJ has gone before",[41] while Garrett Kamps of Spin said that "it's pretty hard to deny this kid has done something amazing, no matter what you call it".[31] Writing for Billboard, Megan Buerger thought Worlds was "the next frontier" for Robinson, citing its "novel approach" of focusing on the individual instead of the collective. She described the album as "ideal headphone music",[32] while Rolling Stone's Elissa Stolman highlighted that it "manages to retain the thrilling rush of emotions that the best raves inspire", despite not fully sounding like EDM.[42] Las Vegas Weekly writer Mike Prevatt wrote that, though the album "may not carve its own musical wave", it was "a necessary crosscurrent to the swells of EDM".[40]

Although they were critical of the album, some reviewers acknowledged it was evidence that Robinson had a promising career ahead of him.[11][16][34] Andy Kellman of AllMusic felt that it was clear Robinson was still getting used to creating music outside the context of "clubs and festivals" due to the album's "several clumsier moments".[16] He said that, considering what Robinson had accomplished with the album and his motivations for it, Robinson's development in the future "should be fascinating".[16] Pitchfork's Larry Fitzmaurice wrote that, while Worlds wasn't innovative due to Robinson's sonic shift being "as industry-canny as it is surprising", his career transition was "admirable and extremely promising".[11] Sharon O'Connell of Uncut doubted Robinson's status as a "post-EDM messiah", but felt that "youth is on Robinson's side."[34] Rupert Howe wrote to Q that Robinson lived up to his reputation as a "producer wizard", but that, while having different aspirations to his peers, he "hasn't completely freed himself of their influence".[38]

Some reviewers thought that the record lacked coherence;

Wondering Sound said that little of Worlds was memorable, and that "Robinson's interior universe seems strikingly secondhand."[35]

Legacy

Worlds was Robinson's attempt to change the course of an entire genre and scene. He succeeded.

—John Ochoa for DJ Mag, 2019[5]

Worlds had a notable impact on the EDM scene. John Ochoa of DJ Mag described it as a "breakthrough" that precipitated a wider shift in the electronic music industry,[5] allowing for "softer" and "dreamier" music in the genre.[4] Paper's Matt Moen and Billboard's Krystal Rodriguez and Kat Bein said that Worlds was a "game changer";[68][69] according to Moen, a wave of artists would cite Worlds as a major influence,[68] while Rodriguez and Bein said that Worlds and its tour "became the blueprint for a generation of young producers to follow".[69] In November 2019, Billboard staff ranked Worlds as the fifteenth greatest dance album of the 2010s and as the ninety-seventh greatest album of the decade more broadly.[69][70]

As a result of the album's positive reception, Robinson had set high expectations for himself,[71] stating in 2018 that he felt he was "under a lot of pressure to do something akin to a follow-up".[4] This caused him to go through an extended period of writer's block and depression, during which he released very little music.[72][73] Robinson's second studio album, Nurture, was released on April 23, 2021, seven years after Worlds.[74] Robinson's experiences with his mental health during this time were reflected in Nurture's lyrical content.[75][76]

Track listing

All tracks are written by Porter Robinson, with additional writers noted.

No.TitleWriter(s)Length
1."Divinity" (featuring Amy Millan) 6:08
2."Sad Machine" 5:50
3."Years of War" (featuring Breanne Düren and Sean Caskey)
  • Breanne Düren
  • Sean Caskey
3:56
4."Flicker" 4:39
5."Fresh Static Snow" 5:58
6."Polygon Dust" (featuring Lemaitre)
  • Ketil Jansen
  • Ulrik Denizou Lund
3:29
7."Hear the Bells" (featuring Imaginary Cities)
  • Marti Sarbit
  • Rusty Matyas
4:46
8."Natural Light" 2:21
9."Lionhearted" (featuring Urban Cone)
4:26
10."Sea of Voices"Düren4:58
11."Fellow Feeling" 5:50
12."Goodbye to a World" 5:28
Total length:57:49
Limited edition box set: Remix CD
No.TitleLength
1."Sea of Voices (
The Alexanders Remix)" (featuring Urban Cone)
5:56
5."Lionhearted (Giraffage Remix)" (featuring Urban Cone)3:59
6."Lionhearted (Urban Cone Remix)" (featuring Urban Cone)3:26
Total length:29:15
Limited edition box set: "Lionhearted" 7" single
No.TitleLength
1."Lionhearted" (featuring Urban Cone)4:26
2."Shepherdess"7:16
Total length:11:42
Worlds Remixed
No.TitleLength
1."Divinity (Odesza Remix)" (featuring Amy Millan)5:26
2."Sad Machine (Deon Custom Remix)"5:06
3."Years of War (Rob Mayth Remix)" (featuring Breanne Düren and 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)" (featuring Lemaitre)4:07
7."Hear the Bells (Electric Mantis Remix)" (featuring Imaginary Cities)4:45
8."Natural Light (San Holo Remix)"2:55
9."Lionhearted (Point Point Remix)" (featuring 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
Total length:51:51

Notes

Personnel

Adapted from the CD liner notes.[43]

Chart performance

Chart performance for Worlds
Chart (2014) Peak
position
Australian Albums (ARIA)[78] 13
Dutch Albums (Album Top 100)[79] 96
UK Albums (OCC)[80] 86
UK Dance Albums (OCC)[81] 13
US Billboard 200[82] 18
US Top Dance/Electronic Albums (Billboard)[83] 1

Notes

  1. ^ "Shepherdess" does not appear on the album but on the B-side of the "Lionhearted" 7-inch single, which was included in the album's limited edition box set.[45][46] See § Track listing.

References

Citations

  1. ^ a b NME 2014, 0:43–0:57.
  2. ^ a b Fuse.tv 2014, 0:00–0:06.
  3. ^ a b c McCarthy, Zel (November 14, 2013). "Porter Robinson Signs with Astralwerks After Bidding War: Exclusive". Billboard. Archived from the original on February 13, 2024. Retrieved February 13, 2024.
  4. ^ a b c Ochoa, John (February 15, 2018). "Porter Robinson: DJ Mag North America cover feature". DJ Mag. Archived from the original on March 15, 2018. Retrieved November 26, 2023.
  5. ^ a b c d Ochoa, John (January 22, 2019). "10 moments that defined Porter Robinson". DJ Mag. Archived from the original on November 8, 2021. Retrieved September 25, 2023.
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  7. ^ a b c d e f g h i j k l Brown, Harley (June 30, 2014). "'I Expected a Backlash': Porter Robinson Talks 'Virtual' Music, Denouncing EDM, and Online Games". Billboard. Archived from the original on February 14, 2024. Retrieved February 14, 2024.
  8. ^ NME 2014, 0:58–1:16.
  9. ^ NME 2014, 2:33–2:56.
  10. ^ The AU Review 2014a, 1:34–1:42.
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  12. ^ The AU Review 2014a, 3:53–4:04.
  13. ^ Fuse.tv 2014, 2:11–2:17.
  14. ^ a b Polonsky, Sarah (September 11, 2014). "Interview: Porter Robinson Shares His New World". Vibe. Archived from the original on February 13, 2024. Retrieved February 13, 2024.
  15. ^ The AU Review 2014a, 1:42–1:59.
  16. ^ a b c d e Kellman, Andy. "Worlds – Porter Robinson". AllMusic. Archived from the original on August 11, 2014. Retrieved August 17, 2014.
  17. ^ The AU Review 2014b, 2:31–2:35.
  18. ^ a b c d Greene, Scott (October 31, 2014). "Your EDM Exclusive Interview: Porter Robinson On Worlds". Your EDM. Archived from the original on November 12, 2020. Retrieved February 13, 2024.
  19. ^ Fuse 2013, 1:01–1:24.
  20. ^ NME 2014, 3:42–3:48.
  21. ^ a b "New 'World' Order: Porter Robinson Interviewed". Clash. June 11, 2014. Archived from the original on February 15, 2024. Retrieved February 15, 2024.
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  26. ^ The AU Review 2014b, 1:04–1:20.
  27. ^ Fuse.tv 2014, 0:35–0:52.
  28. ^ a b The AU Review 2014b, 1:38–1:53.
  29. ^
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  34. ^ a b c d e f g O'Connell, Sharon (September 2014). "Porter Robinson: Worlds". Uncut (208): 76. Retrieved February 18, 2024.
  35. ^
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  36. ^
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  46. ^ Robinson, Porter (2014). "Lionhearted / Shepherdess" (Media notes). Astralwerks. B002143987.
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  49. ^ Porter Robinson - Sad Machine (Official Lyric Video). PorterRobinsonVEVO. May 21, 2024. Archived from the original on January 5, 2024. Retrieved February 15, 2024 – via YouTube.
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  52. Variance Magazine. June 3, 2014. Archived
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