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Virtual Self
EP by Virtual Self
Released	November 29, 2017 (2017-11-29)
Genre	trance neotrance
Length	20:33
Label	Virtual Self
Producer	Porter Robinson
Singles from Virtual Self
"Eon Break" Released: October 25, 2017 "Ghost Voices" Released: November 8, 2017

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), Robinson suffered with depression and struggled to maintain its sound or work on a follow-up. He then started plotting the Virtual Self project, an alias with its visuals and sound inspired by the early 2000s. He became "obsessed" with this idea, using electronic music and Internet webpages from that period as sources of inspiration.

Robinson separates his works as Virtual Self from the ones under his own name, and he doesn't play both in the same shows. The alias is represented by two characters created by Robison: Pathselector, with mid-tempo songs, and technic-Angel, with faster ones. Virtual Self is a trance and neotrance EP with inspirations from early 2000s genres. Robinson tried to recreate sounds from the early 2000s while still incorporating modern song structures. Virtual Self's visuals present cryptic messages and a mysterious atmosphere.

Two singles were released: "Eon Break" and "Ghost Voices"; the latter was later nominated for a Grammy Award for Best Dance Recording at the 61st Annual Grammy Awards. After releasing the EP, Robinson toured as Virtual Self starting on December 2017, and later in 2018 during the UTOPiA SySTEM tour. The EP sold 1,000 copies in its first week of release in the United Stated and charted on the Dance/Electronic Album Sales and Heatseekers Albums Billboard charts.

Background

In the early 2010s, Porter Robinson was known for his "aggressive" electro and complextro sound, with releases such as the 2010 hit "Say My Name" and the 2011 EP Spitfire. Robinson released his debut studio album, Worlds, in August 2014. This was a departure from that sound; Worlds was credited as " usher in a welcoming environment for softer, dreamier electronic music". After this release, Robinson felt like he had discovered his identity, and that he could keep producing the album's sound. However, he found himself unable to do that, stating that Worlds became something for him to resist. He felt pressured to release something similar to a follow-up album, but he couldn't produce anything "inspiring" or "good".

In 2015, when the Worlds tour ended, he tried to make music for a new project, stating that he locked himself in his studio for about 12 hours a day, but he couldn't come up with new ideas or create anything he was satisfied with. He claims to have produced a hundred demos for what would be a follow-up to Worlds, which he described as "the music of a person who was depressed and uninspired and scared and unhappy"; he fell into depression the same year.

However, Robinson started to realize that musical tropes from the early 2000s, albeit obsolete, were still interesting to him. He was also tempted to write music he couldn't release under his own name, as that made him feel less pressure. Later in 2015, he started plotting the Virtual Self project. The next year, Robinson released "Shelter", a collaboration with Madeon; Robinson said that it was successful and, considering that Madeon "was making all of his new music that is unbelievably good", he decided to to do something similar, but going "in this complete other direction". In 2017, Robinson moved to London to work on the Virtual Self project.

Concept and inspiration

Robinson's main inspiration for the Virtual Self project, including its sound and design, was the early 2000s. This was the period where Robinson discovered rhythm games Dance Dance Revolution (DDR) and Beatmania, where he first heard electronic music; DDR was what motivated Robinson to produce music in the first place. The Virtual Self project has deep roots in nostalgia, and Robinson wanted to help define how people remembered the early 2000s: "I want to help revitalize and bring those things to the forefront. I want to be one of the people who defines nostalgia for that time period."

Robinson stated that the project was him on "peak obsessiveness"; retrospectively, he commented that this obsession made him do something he "shouldn't do", which was "spend a whole lot of time curating this project that had what I thought was very little commercial appeal". In particular, he became "obsessed" with the "overall vibe" of the early 2000s which was present in The Matrix (1999), DeviantArt visuals, forum signatures and rhythm game backgrounds. Robinson wanted to combine the idea of "cyber, sensibility, technology" from that time, which he described as "grunge, kind of like Linkin Park or t.A.T.u.; this sort of Eastern European vibe", with "the sense of magic", which he described as Final Fantasy and Phantasy Star Online (2000). 1998 anime Serial Experiments Lain was also cited by him as "ne of the greatest influences on this project". With the help of The Wayback Machine, Robinson spent three years revisiting forums and websites he frequented in that period, which helped him compose "a mood board of how Virtual Self should look and sound." However, Robinson said that Virtual Self is "not purely an homage", as he's not trying to recreate something specific but rather his memories and feelings surrounding them.

Porter Robinson described the music under his own name as his most "authentic and sincere soul," while, according to Billboard, Virtual Self is about "shattering his own habits, perhaps even his image". He said that Virtual Self could be seen as his "attempt at alienating people". According to Robinson, the project was far from being an attempt to please his fans; he wanted it to be something many of his fans would reject, as "hat's a sign of success". He also stated that he wants to separate Porter Robinson music from Virtual Self music, and he doesn't play both in the same shows; Robinson wanted Virtual Self "to live in its own world here" instead of being a part of "Porter Robinson".

Sound

Robinson wanted to blend different styles of electronic music from the early 2000s, such as jungle, trance and gabber. According to Robinson, he listened to "every song" from 1998 to 2003 on Beatport tagged as trance, breaks, jungle, drum and bass and techno; he stated he "listened to snippets of 100,000 songs over the course of two years." While he recognized many of it was "pretty uninspired and forgettable", he identified "trends of sound design and structure" that he could incorporate. Robinson had to research how to authentically recreate sounds from PC Music's "hyper-modern, complex productions", such as looking into early 2000s sample packs. However, he also stated that he didn't want Virtual Self to be "exclusively referential": "I was always trying to incorporate some kind of twist so it's an homage to a time period but somehow distorted." As such, while still using mostly early 2000s sounds, Robinson also tried to implement modern song structures, stating that he wanted to "morph 2001 tropes into a 2017 production sensibility". Robinson also particularly stated that Calvin Harris' 2009 song "I'm Not Alone" was "really inspirational" for Virtual Self.

Visuals

According to Robinson, one of the first things he did for the Virtual Self project was gather much imagery that evoked a "feeling of Virtual Self", which served as a basis for what the album cover should look like. However, he still needed to gather dynamic graphics with a similar style to reference when working with video artists. He then directly referenced intros for the Beatmania IIDX video game series, in particular 6th Style (2001) and 7th Style (2002).

Virtual Self's music videos and website contain cryptic messages and questions. Robinson stated that he didn't want to convey specific meaning for these; Robinson said Virtual Self is about creating a mysterious atmosphere. He described the "methodology of Virtual Self", especially its visuals, as "chaotic". His techniques to obtain these messages included translating sentences many times on Google Translate so he could use mistranslations as an inspiration, and Markov chains. Robinson also cited influences from a design trope in year 2000 digital abstract art "where people would put tiny text everywhere — little floating sentences that are partially blurry and transparent. You feel like they're being whispered to you by a robot." These sentences were just "atmospheric" instead of conveying a specific meaning. Some of these "nonsensical sentences" were taken from "the sides of arcade game boxes" Robinson used to read in the early 2000s.

Composition and songs

Media outlets described the sound of Virtual Self as trance and neotrance. They identified inspirations from early 2000s genres such as trance, hard trance, eurodance, jungle, progressive house, intelligent dance music, speedcore, hardcore, J-core, rave, and breakbeat, and also noted similarities to rhythm game music, such as DDR, and keygen music.

The Virtual Self alias is represented by two characters created by Robinson, Pathselector and technic-Angel, which have their own Twitter pages. In the EP, the white-dressed, gold-masked Pathselector represents tracks "Ghost Voices" and "a.i.ngel (Become God)", while technic-Angel is a fair-skinned, dark-cloaked harbinger that represents tracks "Particle Arts", "Key" and "Eon Break". Pathselector's songs were described by Robinson as neotrance, being mid-tempo, "less hardcore-influenced and strictly trancey sounding", while technic-Angel's songs were described by him as "maximalist, 170 BPM, crazy hardcore, speedcore, jungle, and drum and bass".

The EP begins with technic-Angel track "Particle Arts", "a 175-BPM juggernaut of trance stabs and happy-hardcore breaks" where Robinson uses EDM-styled drum and bass with glitch elements. The next track is Pathselector's "Ghost Voices", which " low-slung deep house basslines with trance-y top lines" while having "soulful, halftime garage vibes", energetic snare rolls and Reese bass. It is followed by "A.I.ngel (Become God)", also by Pathselector, which contains "carefully sculpted vocal synths" similar to the ones found in Garden of Delete (2015) by Oneohtrix Point Never and combines trance and big beat elements. The last two tracks, "Key" and "Eon Break", are by technic-Angel. The EDM-like track "Key" changes its key halfway through it, a common pop music trope, while the trance-like "Eon Break" ends the EP with "a break-neck, glittering, happy-hardcore tune" that "deals in hardstyle cadences and machine-gun snares".

Promotion and release

On October 25, 2017, Robinson released the EP's first single, "Eon Break", announcing his then-new alias Virtual Self via his Twitter page. A music video was released, containing cryptic messages. The EP's second single, "Ghost Voices", was released on November 8, 2017. On November 17, Robinson announced the Virtual Self EP, making previews of its tracks available on a new website announced on Virtual Self's Twitter page.

The EP was released on November 29, 2017. Virtual Self's first live performance debuted on December 8, 2017, in Brooklyn, New York. Shows continued in 2018, with Robinson playing in U.S. festivals such as the Ultra Music Festival in Miami. On January 11 that year, a music video for "Particle Arts" was released. An accompanying music video for "Ghost Voices" was released on February 28. On April 18, he released a music video for "Key". Robinson released "Angel Voices" on July 20, 2018, a happy-hardcore infused remix of "Ghost Voices" which he described as the "technic-Angel remix". Virtual Self shows continued starting on August 2018, with a two-month North American "UTOPiA SySTEM" tour.

In 2020, Robinson announced a Virtual Self artbook and fashion line in collaboration with Japanese brand Chloma.

Critical reception

Kat Bein of Billboard said the Virtual Self alias was a "high-concept musical nerdiness with a heavy Final Fantasy vibe" and that the entire EP "plays like a killer soundtrack to the best mid-2000s RPG Nintendo forgot to release". In his 5.9/10 review, Philip Sherburne of Pitchfork described Virtual Self as an effort to "make a headlong plunge into an aesthetic rooted in the late 1990s and early 2000s" whose rhythms are "funkless" and "hyperactive", reminiscent of Dance Dance Revolution soundtracks. The critic then pegged "Ghost Voices" as the most contemporary sounding track of the EP and said that "Virtual Self hones in on the most garish aspects of Robinson's influences, burning away any possibility of subtlety beneath a billion-watt gleam". He finished his review by saying that "Virtual Self's trance revamp reminds us that the boundaries of taste are always in flux—and that ultimately, nostalgia will rehabilitate even the shaggiest underdogs." Andrew Rafter of DJ Mag praised that Robinson was experimenting with new influences and sounds, but said "it's just a shame some of the tracks don't quite hit the mark for our money".

Billboard staff chose "Ghost Voices" as the 32nd best dance/electronic song of 2017, with Kat Bein stating that it is "the dankest song on the five-track self-titled EP. Its classic house groove and futuristic touchest beckon you to the dark side of the dance floor and the web." In an interview with the same magazine published in February 2018, DJ Calvin Harris stated that the Virtual Self project, in particular the track "Ghost Voices", "restored his love of dance music". The Fader staff chose Virtual Self as an "artist you need to know about" in 2018, and chose EP track "Particle Arts" as the 63rd best track of that year. In January 2019, it was announced that "Ghost Voices" was nominated for a Grammy Award for Best Dance Recording at the 61st Annual Grammy Awards, marking Robinson's first ever nomination. In a statement to Billboard, Robinson said he discovered the nomination through Twitter "of all places". At the time, he hadn't even realized "Ghost Voices" was submitted for consideration. Robinson said he felt like he won "the moment it got nominated".

Track listing

All music is composed by Porter Robinson.

Release history

Commercial performance

In the United States, Virtual Self sold 1,000 copies in its first week of release.

Notes

1. ^ Robinson has cited 1998–2003, 1999–2003 or early 2000s as the periods of inspiration for Virtual Self. In some instances, "Early 2000s" will be used, as it's the most mentioned by Robinson in interviews and for simplification.

References

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• Porter Robinson albums
• 2017 EPs
• Trance EPs