Worlds - Porter Robinson
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Generally favorable reviews - based on 8 Critics What's this?

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Universal acclaim- based on 27 Ratings

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  • Summary: The debut full-length release for the North Carolina electronic producer features guest appearances from Breanne Düren, Imaginary Cities, Lemaitre, Amy Millan, and Urban Cone.
Score distribution:
  1. Positive: 3 out of 8
  2. Negative: 0 out of 8
  1. Aug 15, 2014
    The world that Worlds conjures is fantastical and defiantly cheery.
  2. Aug 11, 2014
    Although it doesn’t sound quite like EDM, Worlds manages to retain the thrilling rush of emotions that the best raves inspire.
  3. Aug 11, 2014
    The main drawback to Worlds’ sound, an impressionistic approach to mass-appeal fare, is that anyone with their ear to the (festival) ground might find these sounds to be relatively old-hat.
  4. Aug 11, 2014
    Through several clumsier moments, it's evident Robinson's still getting the hang of making music that translates outside clubs and festivals. Going by what he has accomplished and what he aimed to achieve here, his development should be fascinating.
  5. Aug 11, 2014
    [Robinson] has certainly indulged his preference here, mixing M83-style synth-pop with Daft Punk/Justice bangers and adding assorted nu-rave and EDM tropes, to end up with not much to call his own. [Sep 2014, p.76]
  6. 50
    His ability isn’t lacking; Robinson just needs to ditch that indie pop crutch in order to strengthen his own voice.
  7. Aug 11, 2014
    What Worlds never does is cohere in any appreciable way, stomping all over its finer moments with another synth glitterbomb and burdensome bass drop. [Sep 2014, p.107]

See all 8 Critic Reviews

Score distribution:
  1. Positive: 4 out of 6
  2. Negative: 1 out of 6
  1. Aug 12, 2014
    I don't know why, but I thought I was going to be disappointed with the album, because I've known Porter since Hello, and I really like his EDM songs, such as Language, Say My Name, The Wildcat among almost all the others, including Hello. He was on my top list, so part of me didn't even want to listen to the album. But at the same time, I was feeling disappointed with the path all those top DJs had chosen to go, which was making ONLY Tomorrowland-ish songs, meant for those big arenas and for people to "get crazy". They all had the same form, in a way that really disturbed me. A "brilliant" EDM song would be one that has a creative and/or heavy drop, and the rest of the song would follow the "form". So I was tired, and apparently, so was Porter, as he had stated in a few interviews.
    He said this was his best music, and I agree 100%. Worlds sounds so meaningful and special, and it has the soul all those new EDM songs don't. I was feeling suffocated by EDM and this album allowed me to breath. I'm glad I listened to this, and I will listen to it a lot more in the future.
  2. Aug 13, 2014
    Worlds is an ambitious, incredible release from Porter. His craftsmanship in this genre is really marvellous, The melodies found in this album evoke a sense of nostalgia, but it doesn't rely on it entirely. It's a synthesis of crushing four-on-the-floor beats, neo 80s sounds, sharp electro-pop, and JRPG/Sci-Fi video game OSTs. Not only is Porter creative to conceptualizing such a unique project, but his technical skills really takes this vision to the next level and makes it shine. I don't think this album will speak to everyone, but for the people it does, it's perfect. Expand
  3. Aug 12, 2014
    "Worlds" is far from the intended work hyped up by Porter to "redefine EDM", but its a genuine and wholehearted piece that lacks awe in its middle ground, but is decent all around and fun to listen to. Tracks such as Sad Machine, Flicker, Fellow Feeling, Years of War, Divinity, and Goodbye to a World send strong (albeit heavy-handed) messages of a resurrected age of sound to save a dying world of lost memories, through which Porter instills a dedication to all that is nostalgic in an effort to reclaim it. "Worlds" as such comes across as a much more intimate piece of work than Porter's previous "Spitfire EP", and though the themes and sounds of later releases 'Language' and 'Easy can still be found throughout the album, but that's not to say it's not better executed. Still, Porter seems to be struggling to piece together his own sound, the music taking on a M83 lovechild aspect with some further influences that could be compared to other acts such as Shinichi Osawa, The M Machine, Passion Pit, or MGMT. If anything Porter's sound relies on a punchier grit to difference himself, but doesn't create the needed divide to differentiate greatly amongst one another. All in all, its a worthy first LP debut, and though the hype was below the mark for what is delivered, we can expect Porter Robinson to branch out and refine his style. Expand
  4. Aug 12, 2014
    It's nothing new, especially not a "revolutionary record" like a lot of people (including Porter himself) refer to it. But that doesn't mean it is not a nice listen. The album has an uplifting atmosphere, the songs are generally sweet, but the consistency of the sound of this album makes more than a few songs forgettable or seem like fillers. That doesn't count for the track "Fellow Feeling", though, which is a stand-out-track with a whole different atmosphere and that "EDM-feeling" that may or may not have a few people missed while listening to this record.
    Conclusion: If you are here for something new, you better do not waste your time and move along to a different record. But if you are a fan of synths and poppy-electronic-sounds with an indie feeling to it, you could give it a shot.
  5. Aug 12, 2014
    Porter Robinson ensures us he's not on route of selling out like his fellow EDM mates: Avicii, Calvin Harris, and Zedd, just to name a few, instead pursuing a quieter and calmer Capital Cities-esque alternative sort of sound. And although there is a lot of bubbly background music going on -- lead single "Sea of Voices" winds up with windchimes and "Lionhearted" has an '80s vintage vibe to it that could easily make it a must-have on the charts this fall, and "Fellow Feeling" slides between strings, spoken word verses, and at last, a bass-cannon ready drop, World simply succumbs to the dreariness in its own sound and has no major meaning besides tiding the Ultra music festival floors before a more accomplished DJ comes on stage. Expand
  6. Aug 12, 2014
    I've never listened to any of Porter's past stuff, but apparently he's made a big change to indie pop/synthpop. And now that I have listened to his new album "Worlds", I can make a fair judgement. It's plain repetition, boring and cliche for its genre, written horribly, and has terrible vocals throughout the album. I don't honestly get why a ton of people are giving this album great reviews. What's so great about it? The album is just horrible. It's complete trash. I would have given this a zero if I wasn't writing this without reason. The reason for me giving this album a 2 is because there is literally only one good song out of the twelve that are on here. That one song may be almost the same as every other song on the album, but if I have to choose one repetitive song out of all the ones on this album, it's Sad Machine. That's the only good one. The rest is just the same with different pitch, synth patterns, and overall horrible vocals by different people. Stop giving this album good reviews and realize that this album sucks. It's time to actually think and look for music that's actually decent. Expand