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. The album was preceded by 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 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
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.
Robinson was initially known for his electro and complextro music, such as the 2010 single "Say My Name" and the 2011 EP Spitfire;[4][5][6] Robinson described his initial sound as "very heavy" and "bass-aggressive".[7] "Say My Name" topped Beatport's electro house chart, while Spitfire caused the website to crash after being promoted by Skrillex and Tiësto.[7][8]
Across 2012, Robinson performed at major electronic dance music (EDM) festivals,[8] but gradually became dissatisfied with the genre. He reported experiencing "four or five fully-blown anxiety attacks onstage" that year, yelling "dance music is terrible" at one of his shows.[7] Robinson came to believe that the genre limited his expression;[1][8] he said to NME that the style became unappealing, citing the state of the scene: "EDM is entertainment, it's not art".[1][7] In an interview with Inthemix, Robinson said: "By trying to incorporate DJ-friendly and dance-friendly elements into my music, I was often compromising and making songs worse."[7][9]
Robinson conceived the idea for Worlds in 2012 following the release of "Language",[7] his first song to have a greater emphasis on melody.[5][10] Although the song was a departure from his earlier sound, "Language" was accepted by audiences, surprising Robinson.[7] As a result, he decided to prioritze "beauty" and "emotion" in his music,[9] which became his first principles for Worlds.[1][2] He also considered it necessary to be "sincere" and "honest".[2][11] Instead of focusing on club-friendly music, he decided to create the music he wanted to hear and felt needed to exist.[9] In 2013, he released "Easy" with Mat Zo, which Andy Kellman of AllMusic described as "one of 2013's most memorable commercial dance singles".[12]
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.[8] Robinson produced the album in FL Studio, and notes that he wrote around 50 tracks for the album, which were later narrowed to 12.[13][14] 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.[15] 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.[1]
Composition
Robinson performing in 2013
Robinson was inspired by themes of fantasy, escapism, fiction, and nostalgia.[11] He said that Worlds is not associated with, nor has a place in, reality,[8][16] 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".[8] Fiction had a notable impact on the record, with Robinson incorporating science fiction and fantasy elements from video games, anime, and movies.[17] 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,[7][18] and was affected by how dwindling playerbases and bankruptcies eventually brought them offline.[16][17][19] This was how Robinson chose the album title "Worlds".[20]
Robinson used General MIDI sounds that resembled the music of Nintendo 64 and PlayStation video games,[13][19] including those he played while growing up in the 1990s, such as The Legend of Zelda: Ocarina of Time (1998),[2][13] which evoked childhood nostalgia for Robinson.[13] By emulating the "slight[ly] sad vibe" of the stories that inspired him, Robinson wanted to give the album a retrospective and emotional atmosphere.[17]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.[17] Multiple critics noted that the album's sound resembled M83[10][21][22][23] and Passion Pit.[10][21]
Larry Fitzmaurice of Pitchfork said that Worlds is "electropop plain and simple".[10] Megan Buerger of Billboard said that the album combines ambient, disco and electropop.[24] Elissa Stolman wrote to Vice that several tracks on the album were inspired by new wave.[25] While Robinson intended to stray from EDM, the album still kept some of its elements;[22] some critics described the album's sound as "post-EDM".[23][24] Sharon O'Connell of Uncut said that Robinson mixed EDM tropes and nu-rave with M83-like synth-pop and "bangers" by Daft Punk and Justice.[26] Conversely, Buerger wrote that bass drops and dance-like rhythms were substituted by "delicate chord progressions and deep, forceful synths".[24] Barry Walters of Wondering Sound said that most of Worlds uses "ballad-speed" beats per minute.[27]
Songs
Tracks 1–5
Worlds opens with "Divinity", which contains vocals by Canadian singer Amy Millan, from the bands Stars and Broken Social Scene. Robinson chose the track as the opener because it was the first he wrote in a style he considered representative of Worlds.[28] Tatiana Cirisano of Billboard noted a large contrast between the intro and chorus of the song; while the former contains "underwater-sounding", smooth vocals, the latter contains "a cacophony of clashing cymbals, glitchy melodies" and sounds reminiscent of video games.[29] Barry Walters of Wondering Sound said that it features common characteristics of EDM, such as "a walloping beat, a wall of synths [and] a breathy female cameo",[27] while Elissa Stolman of Vice described the track as an indie-electronic "festival rave anthem", with synths that resembled M83's "Midnight City" (2011).[25] Alternatively, Rupert Howe of Q found similarities to electronica and M83-like space rock.[30]
The next track, "Sad Machine", was the first Robinson had ever recorded vocals for.[31] Describing it as a "duet between a lonely robot girl and the human boy",[31] Robinson employed Avanna, a Vocaloid voice, as the song's lead singer.[8][28] 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,[10] while Las Vegas Weekly's Mike Prevatt identified inspirations from M83 and Sigur Rós.[32] Lucas Villa of AXS said that the track goes to the "dreamier side of electronic music", describing it as "heroic and awe-inspiring".[33] 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.[28] It leans into electropop,[24] synth-pop,[30] and new wave.[25][34] 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".[25]
The song is followed by "Flicker", which Robinson considered one of his proudest moments on the album, citing its flow.[28] With a female voice talking in chopped-up Japanese,[24][25] the song begins with a calm disco beat reminiscent of old video games and a faint bassline building in the background.[24] A classic hip hop breakbeat is present before the "emotional payoff" in the chorus, according to Prevatt,[32] and, after more than two minutes, there are "30 intense seconds of thick, swinging bass", according to Buerger.[24] She described the song as the most dynamic on the album.[24] Garrett Kamps of Spin identified melodic similarities with Boards of Canada.[23] "Fresh Static Snow", the fifth track on the album, was another song for which Robinson used Avanna.[8][28] It is about his feelings of loneliness and the idea of soulmates.[28] With "ethereal electro vibes", in the words of Consequence of Sound's Derek Staples,[21] 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".[25]
Tracks 6–12
The album's sixth track, "Polygon Dust", is a collaboration with Lemaitre, a band Robinson liked.[28] 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.[25] 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. Robinson felt that the song is where he sings with the greatest stage presence.[28] Kamps thought the vocal choir was "fantastical and defiantly cheery",[23] while Stolman wrote that the song contains layered indie vocals and emotional lyrical themes.[25] Fitzmaurice said that "Hear the Bells" has a good amount of "rocket fuel" due to its "rippling electronics" and "anthemic synth".[10]
"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.[28] 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.[25] The eighth track is "Lionhearted", which features Urban Cone. It was one of the first tracks Robinson wrote for the album, describing it as "anthemic".[28] Critics noted that this was the album's first display of a faster tempo,[25][27][33] being described as "exuberant pop" by Kamps.[23] Prevatt noted similarities to the sounds of Passion Pit and Holy Ghost!.[32] The next song, "Sea of Voices", went through multiple iterations before its release.[28] A five-minute orchestral track,[24] its first minutes contain no drums,[24][25] being only composed of synths reminiscent of atmospheric big room.[25][33][34] Noting the late introduction of beats, Buerger said the track has "the emotions of a tear-jerking blockbuster".[24] Kamps found the build-up similar to ones by Sigur Rós.[23]
"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.[28] The song starts as a "pastoral chamber piece", according to Sharon O'Connell of Uncut,[26] with violins[23] that were described by Villa as "cinematic"[33] and Walters as "symphonic".[27] In one section, against a voice saying, "Now, please, hear what I hear",[27] a strong bass is present;[10][23][26] the passage contains "an angry onslaught of dubstep jackhammering", according to Walters,[27] and "chopped and screwedelectro funk", according to O'Connell.[26] Villa described it as the album's most climactic moment.[33] The album's final track, "Goodbye to a World", is the third to use Avanna.[8][28] Robinson wanted the feeling of a "beautiful apocalypse" for the song.[28] It has lullaby-like moments[22][25] as well as others of what Stolman described as "fist-pumping brutality".[25] Howe described the song as "Sigur Rós for the post dubstep generation",[30] while Staples described it as "modern breakcore".[21]
Release and promotion
The Fader's Duncan Cooper felt that Robinson had "made [Worlds's logomark] his trademark".
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".[35]
Robinson performing on the Worlds Live Tour in 2014
Astralwerks wanted to release "Shepherdess" as the album's first single, a song 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.[14] The single was released on March 2,[36] 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.[8][31] 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.[14] "Sad Machine" was premiered by The Fader on May 12, 2014, and was released elsewhere a day later.[31][37] A lyric video was released on May 21.[38]
On June 3, Stereogum premiered Worlds's third single, "Lionhearted", which features Swedish band Urban Cone.[39] It also debuted at BBC Radio 1.[40][41] 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.[42] "Flicker" was premiered on July 28 by Vogue,[43] being officially released the next day as Worlds's fourth and final single.[44] An official music video was released on August 14. The video is set by a train window as glitchy effects occur on the passing landscape.[45]
In July, Robinson announced a limited edition box set of Worlds containing bonus remixes and tracks.[46] On August 4, the album was premiered by NPR as part of their "First Listen" series.[47] It was fully released on August 12, 2014.[48] 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.[49] The album's visuals were illustrated by the artist David Aguado.[50]
Tour
In May 2014, Robinson announced a North American tour for Worlds, which spanned from August 28 to October 18,[51] with later dates in Europe.[52] Like the album itself, Robinson was inspired by fictional universes for its visuals, which featured large LED screens containing video game-like, pixelated worlds.[53] Its visuals were managed by the company Imaginary Light Network.[50]
Worlds received critical acclaim.[29][57] According to review aggregator Metacritic, Worlds received "generally favorable reviews" based on a weighted average score of 63 out of 100 from 8 critics scores,[55] while, on AnyDecentMusic?, the album received a rating of 6.4 out of 10 from 7 critic scores.[54]
Some reviewers praised Worlds's innovation.[23][24][33] 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",[33] 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".[23] 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",[24] 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.[34]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".[32]
Although they were critical of the album, some reviewers acknowledged it was evidence that Robinson had a promising career ahead of him.[10][12][26] 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".[12] 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".[12]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".[10] Sharon O'Connell of Uncut doubted Robinson's status as a "post-EDM messiah", but felt that "youth is on Robinson's side."[26] 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".[30]
Some reviewers thought that the record lacked coherence;[21][56]Consequence of Sound's Derek Staples said that, while reinventing EDM was a noble idea, Robinson's execution was weak, with Worlds resembling more a "remix compilation" than a proper album.[21] Others found the album unexciting.[22][27] Samuel Tolzmann of Spectrum Culture wrote that Worlds ultimately embraces generic conventions and that the album being expected to redefine the genre was more indicative of "how stale this style of EDM has grown than about the sophistication or creativity of Robinson's music itself".[22] Barry Walters of Wondering Sound said that little of Worlds was memorable, and that "Robinson's interior universe seems strikingly secondhand."[27]
Legacy
Worlds was Robinson's attempt to change the course of an entire genre and scene. He succeeded.
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";[6][58] according to Moen, a wave of artists would cite Worlds as a major influence,[6] while Rodriguez and Bein said that Worlds and its tour "became the blueprint for a generation of young producers to follow".[58] 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.[58][59]
As a result of the album's positive reception, Robinson had set high expectations for himself,[60] 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.[61][62] Robinson's second studio album, Nurture, was released on April 23, 2021, seven years after Worlds.[63] Robinson's experiences with his mental health during this time were reflected in Nurture's lyrical content.[64][65]
Track listing
All tracks are written by Porter Robinson, with additional writers noted.
Astralwerks is an American record label primarily focused on electronic music that is now owned by Universal Music Group. Its material is distributed via Capitol Music Group in the United States. The label was founded in 1993 and, in its early years, featured prominent British acts like The Future Sound of London, Fatboy Slim and The Chemical Brothers. In recent years, its roster has expanded to include acts like Halsey, Marshmello, Porter Robinson, Illenium, Zhu and numerous others. In 2018, Astralwerks' headquarters were moved from its original home of New York City to Los Angeles.
"Shelter" is a song by American DJ and record producer Porter Robinson and French DJ and record producer Madeon, released as a single on August 11, 2016. In October 2016, a music video, produced in collaboration with A-1 Pictures, is released.
Porter Weston Robinson is an American DJ, record producer, and singer-songwriter. Born in Atlanta, Georgia and raised in Chapel Hill, North Carolina, Robinson began producing electronic music during his adolescence. He signed to Skrillex's record label OWSLA at the age of 18, and released the extended play Spitfire in 2011. He appeared on Billboard's 21 Under 21 list in 2012.
Electro house is a genre of electronic dance music and a subgenre of house music characterized by heavy bass and a tempo around 125–135 beats per minute. The term has been used to describe the music of many DJ Mag Top 100 DJs, including Benny Benassi, Skrillex, Steve Aoki, and Deadmau5.
"Language" is a song by American electronic music producer and DJ Porter Robinson. The song was uploaded on YouTube by Porter Robinson on April 1, 2012. The song was released in the United States on Big Beat Records as a digital download on April 10, 2012. The song was later released in the United Kingdom in an EP package from the Ministry of Sound on August 12, 2012. It debuted at number nine on the UK Singles Chart. The song features uncredited vocals from Heather Bright. The song received remixes from producers Kayzo together with Gammer, and from Jauz.
Spitfire is the debut extended play (EP) by American electronic music producer Porter Robinson, released on September 13, 2011, through Owsla. After releasing 2010 single "Say My Name", Robinson expressed desire to explore different musical genres by producing an EP, diverging from his traditional eurodance style. Spanning a range of genres, Spitfire marked the inaugural release on Owsla and caused Beatport to crash following its promotion by musicians Skrillex and Tiësto. The EP charted at UK Dance Albums, Dance/Electronic Albums and Heatseekers Albums, with Robinson subsequently embarking on a tour to promote it. Songs "The State" and "Unison" received particular attention for their libertarian themes and use in DJ sets, respectively.
Lemaitre is a Norwegian indie electronic duo hailing from Oslo. The duo consists of members Ketil Jansen and Ulrik Denizou Lund. Jansen and Lund came together to form Lemaitre on 20 June 2010. Lemaitre is currently based in Los Angeles, California.
"Easy" is a song by British producer Mat Zo and American producer Porter Robinson. The song was released as a digital download in the United Kingdom by Ministry of Sound and Anjunabeats on 14 April 2013 and in the United States by Astralwerks on 7 May 2013. It debuted at number 28 on the UK Singles Chart. The track samples vocals from the song "Nothing Better" by Colourblind.
"Sea of Voices" is a song recorded by American electronic music producer Porter Robinson. It was released on March 3, 2014 as the first single from his debut studio album Worlds (2014). The track revealed the tone of Worlds as emotional and nostalgic, as opposed to his older complextro dance music style. The song features uncredited vocals from Breanne Düren. The song was a hit on the American Dance/Electronic Songs chart.
"Sad Machine" is a song recorded by American electronic music producer Porter Robinson. It was released on May 13, 2014 as the second single from his debut studio album, Worlds (2014). Robinson had the concept of a duet between a robot and a human — these vocals are provided by a Vocaloid voice and Robinson himself, respectively. He wanted the song to contain elements of fiction and nostalgia. Critics noted inspirations from synth-pop, Passion Pit, and M83. "Sad Machine" charted on Billboard's Dance/Electronic Songs and received a gold certification in the United States.
"Lionhearted" is a song recorded by American electronic music producer Porter Robinson featuring Swedish indie pop band Urban Cone. It was released on June 17, 2014, as the third single from his debut studio album, Worlds (2014). The track was one of the first songs Robinson wrote for the album. He decided to work with Urban Cone after listening to their vocals and finding them adequate for the song. Multiple critics found it influenced by Passion Pit. After being premiered by Stereogum and at BBC Radio 1, a music video was released. "Lionhearted" charted in Belgium and the United States.
"Flicker" is a song recorded by American electronic music producer Porter Robinson. It was released on July 28, 2014 as the fourth single from his debut studio album Worlds (2014). Robinson wrote, produced, and performed the track. Musically, the song contains elements of disco and hip-hop, as well as sampling of soul music. Vocally, the song contains a text-to-speech voice incorrectly translating "never seen" Japanese song titles that have been chopped and screwed in a rap-like style.
The Shelter Live Tour was a collaborative concert tour by French DJ and record producer Madeon and American DJ and record producer Porter Robinson in support of their single "Shelter". The tour visited North America, Europe, Asia and Australia from 29 September 2016 to 23 April 2017.
Nicholas D. Miller, professionally known as Illenium, is an American musician, DJ, music producer, and songwriter. He has released five studio albums, his most recent being Illenium, released in April 2023. Illenium earned his first Grammy nomination following the release of his fourth studio album, Fallen Embers, released in July 2021. One of Illenium's more notable albums, Ascend, was released in August 2019 on Astralwerks. The album was Illenium's first to top the Billboard Dance/Electronic Albums chart and also reached his highest peak on the Billboard 200 at number 14.
The discography of American musician Porter Robinson consists of two studio albums, one remix albums, nine extended plays, thirty singles, and seventeen music videos. He first released music under Ekowraith in 2008, starting with "Booming Track".
"Ghost Voices" is a song by American electronic music producer Porter Robinson under the alias Virtual Self. It was released on November 8, 2017 as the second single from the alias' self-titled debut EP, which uses early 2000s sounds and aesthetics. Robinson said that "Ghost Voices" was the easiest song from the EP to compose, and he used a house-styled drum pattern and a trance-styled break. In 2018, the song received an official music video and was remixed by Raito and Robinson himself, the latter remix being called "Angel Voices". "Ghost Voices" received a nomination for Best Dance Recording at the 61st Annual Grammy Awards.
Virtual Self is the debut extended play (EP) by American electronic music producer Porter Robinson under the alias Virtual Self, released on November 29, 2017, through an eponymous record label. After releasing his debut studio album Worlds (2014), a deviation from his earlier sound, Robinson suffered with depression and struggled to create a similar-sounding follow-up. He then started planning the Virtual Self project, which used electronic music and Internet webpages from the early 2000s as main sources of inspiration, an idea Robinson became "obsessed" with.
Nurture is the second studio album by American electronic music producer Porter Robinson, released on April 23, 2021 by Mom + Pop Music. The album was written in the years following Robinson's debut album Worlds (2014), a period when Robinson struggled with mental illness and writer's block. As a result, the album represents a significant stylistic shift in his work; critics noted that the album features a greater emphasis on acoustic instruments and personal lyrics, while retaining many elements of the innovative electronic style of Worlds. The album also prominently features Robinson's voice, as well as a processed, higher-pitched version. The album features themes of depression, and of learning to find beauty in everyday life and the natural world. Several songs also explore themes of family and love for the first time in Robinson's discography.
"Musician" is a song by American record producer Porter Robinson. It is the fifth single from Robinson's second album Nurture, released on March 3, 2021.
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