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'''''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. Robinson was initially known for what he described as "very heavy" and "bass-aggressive" productions, starting in 2010.<ref name=fader /> Becoming unsatisfied with the [[electronic dance music]] (EDM) scene, which he felt limited expression, Robinson released his first song with a more melodic-based sound, "[[Language (Porter Robinson song)|Language]]", in 2012. Since then, Robinson wanted to prioritize "beauty" and "emotion" in his music.<ref name="nme" /><ref name="fuse" /> He was inspired by themes such as [[fiction]], by including elements from video games, anime and movies, and [[nostalgia]], by including sounds from 1990s video games and [[massively multiplayer online role-playing game]]s (MMORPGs).
'''''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. known for bass- , with the [[electronic dance music]] (EDM) , which he felt limited expression, Robinson released his first song with a , "[[Language (Porter Robinson song)|Language]]". Since then, Robinson wanted to prioritize "beauty" and "emotion" in his music<ref name="nme" /><ref name="fuse" /> He was inspired by themes such as fiction, by including elements from video games, anime and movies, and nostalgia, by including sounds from 1990s video games and [[massively multiplayer online role-playing game]]s (MMORPGs).


Defined as [[electropop]], ''Worlds''{{'s}} main inspirations were [[Daft Punk]]'s ''[[Discovery (Daft Punk album)|Discovery]]'' and [[Kanye West]]'s ''[[Graduation (album)|Graduation]]'', with many critics also noting similarities to the sounds of [[M83 (band)|M83]]. The album was preceded by four singles: "[[Sea of Voices]]", "[[Sad Machine]]", "[[Lionhearted]]", and "[[Flicker (song)|Flicker]]", and the album was promoted with a tour. ''Worlds'' was well-received by critics, with many retrospective sources noting the album's impact on the EDM scene. Following the album's positive reception, Robinson suffered from [[writer's block]] and [[Depression (mood)|depression]], leading to the seven years wait for his next studio album, ''[[Nurture (album)|Nurture]]'' (2021).
Defined as [[electropop]], ''Worlds''{{'s}} main inspirations were [[Daft Punk]]'s ''[[Discovery (Daft Punk album)|Discovery]]'' and [[Kanye West]]'s ''[[Graduation (album)|Graduation]]'', with many critics also noting similarities to the sounds of [[M83 (band)|M83]]. The album was preceded by four singles: "[[Sea of Voices]]", "[[Sad Machine]]", "[[Lionhearted]]", and "[[Flicker (song)|Flicker]]", and the album was promoted with a tour. ''Worlds'' was well-received by critics, with many retrospective sources noting the album's impact on the EDM scene. Following the album's positive reception, Robinson suffered from [[writer's block]] and [[Depression (mood)|depression]], leading to the seven years wait for his next studio album, ''[[Nurture (album)|Nurture]]'' (2021).

Revision as of 19:05, 25 February 2024

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' logomark.
Studio album by
Porter Robinson
ReleasedAugust 12, 2014
GenreElectropop[1]
Length57:49
Label
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 3, 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 in the United States and by Virgin EMI Records internationally. Initially known for his heavier bass-centric production, Robinson became increasingly dissatisfied with the electronic dance music (EDM) genre, which he felt limited expression. In 2012, Robinson released his first song with a greater emphasis on melody, "Language". Since then, Robinson wanted to prioritize "beauty" and "emotion" in his music,[2][3] He was inspired by themes such as fiction, by including elements from video games, anime and movies, and nostalgia, by including sounds from 1990s video games and massively multiplayer online role-playing games (MMORPGs).

Defined as electropop, Worlds's main inspirations were Daft Punk's Discovery and Kanye West's Graduation, with many critics also noting similarities to the sounds of M83. The album was preceded by four singles: "Sea of Voices", "Sad Machine", "Lionhearted", and "Flicker", and the album was promoted with a tour. Worlds was well-received by critics, with many retrospective sources noting the album's impact on the EDM scene. Following the album's positive reception, Robinson suffered from writer's block and depression, leading to the seven years 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.

—Porter Robinson, 2013[4]

Robinson was initially known for his electro and complextro music, such as the 2010 hit "Say My Name" and the 2011 EP Spitfire;[5][6][7] Robinson described his initial sound as "very heavy" and "bass-aggressive".[8] "Say My Name" topped Beatport's electro house chart, while Spitfire, the first release on Skrillex's OWSLA label, crashed the website after Skrillex and Tiësto tweeted a link to it.[8][9]

In 2012, Robinson performed at major electronic dance music (EDM) festivals,[9] but gradually became unsatisfied with the genre. Robinson reported experiencing "four or five fully-blown anxiety attacks onstage" that year, yelling "dance music is terrible" in one of his shows.[8] Robinson felt that the genre limited expression;[2][9] talking to NME, Robinson stated that EDM became unappealing to him because, "EDM is entertainment, it's not art".[2][8] In an interview with inthemix, Robinson also stated: "By trying to incorporate DJ-friendly and dance-friendly elements into my music, I was often compromising and making songs worse."[8][10]

The idea for Worlds was born in 2012, with the release of "Language",[8] his first song with a more melodic-based sound.[6][1] Although the song was a departure from his earlier sound, "Language" was accepted by the public, surprising Robinson.[8] Since that year, Robinson decided he wanted to write music that prioritized "beauty" and "emotion",[10] which became one of the first concepts Robinson had for Worlds.[2][3] He also wanted to be "sincere" and "honest" when writing songs.[3][11] Instead of focusing on creating club-friendly music, he decided to create the music he wanted to hear and felt needed to exist.[10] 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 retreated to his parents' home in Chapel Hill, North Carolina, and spent around a year revisiting soundtracks of Nintendo 64 video games from the 1990s and 2000s.[9] Robinson wrote around 50 tracks for the album, later narrowing it to 12,[13] which were produced in FL Studio.[14] In a May 2013 interview, Robinson said he had set a deadline for finishing the album of July, and that the title still hadn't been chosen.[15] When Robinson signed with Astralwerks and Virgin EMI in November 2013, the album was in a near-finished state, but he was still retouching the songs.[4] After its completion, Robinson stated that Worlds was the favorite thing he had ever done and that it contained his favorite music.[2]

Composition

Robinson was inspired by themes such as fantasy, escapism, fiction, and nostalgia.[11] He said that Worlds is not associated with, or doesn't have a place in, reality,[16][9] 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".[9] Fiction had a notable impact on the record, with Robinson including elements of video games, anime and movies which resembled science fiction and fantasy.[17] Robinson's experiences with massively multiplayer online role-playing games (MMORPGs) and associated nostalgia were an influence, with Robinson stating how he admired the worlds these games provided, citing Star Wars Galaxies in particular,[8][18] and noted the influence from the fact these worlds shut down and how that affected him.[16][19][17] This was also how the name "Worlds" was chosen for the album.[20]

Robinson used "general MIDI sounds" that resembled music of Nintendo 64 and PlayStation video games,[13][19] including video games he played when growing up in the 1990s, such as The Legend of Zelda: Ocarina of Time (1996),[3][13] which evoke childhood nostalgia for Robinson.[13] He also added a "slight[ly] sad" feeling to the album, which would make it feel more nostalgic and emotional in his view.[17] Daft Punk's Discovery, an album Robinson considers the best of all-time, was his biggest influence for the record, with Kanye West's Graduation in second.[17] Multiple critics also noted similarities to the sounds of M83[21][22][1][23] and Passion Pit.[21][1]

Larry Fitzmaurice of Pitchfork said that Worlds is "electropop plain and simple".[1] 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 further away from EDM, the album still kept some of its elements;[22] some critics described the album's sound as "post-EDM".[24][23] 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 first one because it was the first song he wrote that was in the style he wanted for Worlds.[28] Tatiana Cirisano of Billboard noted a large contrast between the intro and chorus of the song; while the intro contains "underwater-sounding", smooth vocals, the chorus 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".[25] Alternatively, Rupert Howe of Q found similarities to electronica and M83-like space rock.[30]

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

The next track is "Sad Machine", the first time Robinson used his vocals on a track.[31] Describing it as a "duet between a lonely robot girl and the human boy",[31] Robinson used Avanna, a Vocaloid voice, to provide the lead vocals for the song.[28] With a mid-tempo instrumental and "starry-eyed melodic structure", Larry Fitzmaurice of Pitchfork said that this was one of some tracks on Worlds that resembled the "high-wire synth-pop fantasias" of Passion Pit,[1] 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 "[h]eroic and awe-inspiring".[33] The third track, "Years of War", features Breanne Düren of Owl City and Sean Caskey of Last Dinosaurs. Robinson wanted to go for a "cutesy synth-pop thing", and he said it was the hardest he ever worked on a song.[28] The song leans to electropop[24] and synth-pop,[30] while also containing inspirations from new wave.[34][25] The main instrument of the song is a trance synth; Stolman felt this contemporary element contrasted with the song's retro elements, which includes 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 due to 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, with a faint bassline building in the background.[24] There is a classic hip hop breakbeat before the "emotional payoff" present 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 melody similarities with Boards of Canada.[23] "Fresh Static Snow", the fifth track on the album, was another song where Robinson used Avanna. The song is about some of 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 which Robinson liked.[28] Also with a trance synth being the main element, Stolman described it as the safest track on the album, with natural vocals as opposed to "Sad Machine" and "Fresh Static Snow", as well as calmer synths.[25] It is followed by "Hear the Bells", which features Imaginary Cities. The song is a cover, or remix, of an already existing song by the band. Robinson felt the song is where he sings the most clearly.[28] Fitzmaurice said that the song has a good amount of "rocket fuel" due to its "rippling electronics" and "anthemic synth".[1] Kamps thought the vocal choir was "fantastical and defiantly cheery,[23] while Stolman said the song contains layered indie vocals and emotional lyrical themes.[25]

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

"Natural Light", Worlds's eighth track, is an interlude. Robinson enjoys the track due to its intelligent dance music (IDM) moments 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 this was the first track on the album with 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 is "Sea of Voices", which went through various 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 big room[25] and an atmospheric production.[34][33] Buerger said the track has "the emotions of a tear-jerking blockbuster" for over three minutes, when the first beat appears.[24] Kamps found the build-up similar to the ones by Sigur Rós.[23]

"Fellow Feeling" is Worlds's penultimate track. It features moments of stark contrast; Robinson wanted to contrast what he felt was "beautiful and serene" with "something that was really violent and loud". He felt it was also a way to criticize the EDM formula.[28] The song starts as a "pastoral chamber piece",[26] with "majestic violins"[23] and strings that are "cinematic"[33] and "symphonic".[27] When a voice says "Now, please, hear what I hear,"[27] there is "a dogfight with crisscrossing bass blasts",[23] "buzzsaw synths, chintzy strings, and nasty basslines",[1] "an angry onslaught of dubstep jackhammering"[27] and "monstrous bass and chopped and screwed electro funk".[26] Villa described it as the album's most climatic moment.[33] The album's final track is "Goodbye to a World", which also uses Avanna. Robinson wanted a "beautiful apocalypse" feeling for it.[28] The track has lullaby-like moments[22][25] as well as moments of what Stolman described as "fist-pumping brutality".[25] Howe described it as "Sigur Rós for the post dubstep generation",[30] while Staples described it as "modern breakcore".[21]

Release and promotion

An image associated with Worlds, featuring Unicode characters that form a face.
Worlds' logomark.

On November 14, 2013, after a bidding war, Robinson signed a deal with Astralwerks and Virgin EMI, which would release Worlds in the US and worldwide, respectively.[4] On February 10, 2014, Robinson released a 10-hour video which loops a robotic voice saying "Worlds", revealing the album's name for the first time.[35] Robinson stated he didn't like "big wishy-washy, very marketing-y campaigns".[35] 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 wanted to do the exact opposite by choosing "Sea of Voices", the least accessible to fans of dance music.[14] The song was released on March 2nd,[36] shortly before the 86th Academy Awards. "Sea of Voices" became a trending topic on Twitter and received a positive reception from fans, contrary to Robinson's expectations.[31][9] Originally, "Flicker" would be the album's second single, but, after writing "Sad Machine" (the last song written from the album), he "knew [...] [it] needed to be the next [song] that was put out" and decided to change it three days before its release, causing "mayhem" at the label.[14] The track was released on May 13th, 2014.[31] A lyric video was released on the 21st.[37]

On June 3, Stereogum premiered Worlds' third single, "Lionhearted", which features Swedish band Urban Cone.[38] A music video was released on the 17th, which features Robinson and a group of Japanese women walking around with weapons that turn objects into glitchy, retro effects.[39] "Flicker" was premiered on July 28 by Vogue as Worlds' fourth and final single.[40] An official music video was released on August 14. The video is seen from a train window as glitchy effects take place on the passing landscape.[41]

Robinson performing on the Worlds Live Tour in 2014

In July, Robinson announced a limited edition box set of Worlds containing bonus remixes and tracks.[42] On August 4, the album was premiered by NPR as part of their "First Listen" series.[43] It was fully released on August 12, 2014.[44] On October 2, 2015, Porter Robinson released Worlds Remixed, a remix album of Worlds including remixes by artists and producers such as Mat Zo, Odesza, Sleepy Tom, Galimatias and San Holo. The project was delayed multiple times before its release due to a remixer dropping out.[45] The album's visuals were done by the artist David Aguado.[46]

Tour

In May 2014, Robinson announced a North American tour for Worlds, which went from August 28 to October 18,[47] later touring Europe.[48] Like the album itself, Robinson was inspired by fictional universes for its visuals, which featured large LED screens containing video game-like, pixelated worlds.[49] Its visuals were managed by the company Imaginary Light Network.[46]

Critical reception

Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic?6.4/10[50]
Metacritic63/100[51]
Review scores
SourceRating
AllMusic[12]
Alternative Press[52]
Consequence of SoundC[21]
Las Vegas Weekly[32]
Pitchfork6.9/10[1]
Q[30]
Rolling Stone[34]
Spin8/10[23]
Uncut6/10[26]
Wondering Sound[27]

Worlds received critical acclaim.[29][53] 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,[51] while, on review aggregator AnyDecentMusic?, the album received a rating of 6.4 out of 10 from 7 critic scores.[50]

Lucas Villa of AXS wrote that Robinson "goes above and beyond" by creating a "full-on experience" rather than just an album, "boldly [going] where no other DJ has gone before".[33] Rolling Stone's Elissa Stolman wrote that, while not sounding very similar to EDM, Worlds "manages to retain the thrilling rush of emotions that the best raves inspire."[34] Writing for Billboard, Megan Buerger wrote that Worlds is "ideal headphone music", having a novel approach of focusing on the individual instead of the collective, this being "the next frontier" for Robinson.[24] 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] Las Vegas Weekly writer Mike Prevatt said that, while the album "may not carve its own musical wave", it was "a necessary crosscurrent to the swells of EDM".[32]

Andy Kellman of AllMusic wrote 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] However, 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] Larry Fitzmaurice of Pitchfork said 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".[1] 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] Sharon O'Connell of Uncut wrote: "He's hardly the post-EDM messiah some have made him out to be, but youth is on Robinson's side."[26]

In more mixed reviews, Consequence of Sound's Derek Staples said that reinventing EDM was a noble idea, but Robinson's execution was weak, with Worlds resembling a "remix compilation" more than a proper album.[21] A reviewer of Alternative Press said that the record lacked coherence.[52] Samuel Tolzmann of Spectrum Culture said that Worlds ultimately embraces generic conventions and that, "that sounds like these are expected to shake up the genre says much, much more about 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 and aftermath

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

—John Ochoa for DJ Mag, 2019[6]

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,[6] allowing for "softer" and "dreamier" music of the genre.[5] Paper's Matt Moen and Billboard's Krystal Rodriguez and Kat Bein said that Worlds was a "game changer";[7][54] Moen said that a wave of artists would cite Worlds as a major influence,[7] while Rodriguez and Bein said that Worlds and its tour "became the blueprint for a generation of young producers to follow".[54] In November 2019, Billboard staff ranked Worlds as the fifteenth greatest dance album of the 2010s and as the ninety-seventh greatest album in general for the same decade.[54][55]

As a result of the album's positive reception, Robinson had set high expectations for himself,[56] saying in 2018 that he felt he was "under a lot of pressure to do something akin to a follow-up".[5] This caused him to suffer creatively,[57] experiencing an extended period of depression and writer's block, during which he released very little music.[58] Robinson's second studio album, Nurture, was released on April 23, 2021, seven years after Worlds.

Track listing

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

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)
4:24
10."Sea of Voices"Breanne Düren4:59
11."Fellow Feeling" 5:49
12."Goodbye to a World" 5:28
Total length:57:49
Limited edition box set: Remix CD
No.TitleLength
1."Sea of Voices (RAC Mix)"6:08
2."Sad Machine (Anamanaguchi Remix)"4:29
3."Lionhearted (Arty Remix)" (featuring Urban Cone)5:17
4."Lionhearted (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

  • "Sea of Voices" features uncredited vocals from Breanne Düren.[59]
  • "Sad Machine", "Fresh Static Snow", and "Goodbye to a World" feature vocals from Avanna, a Vocaloid voice.[28]
  • "Flicker" contains samples from Ano Natsu de Matteru, produced by Natsumachi Production Committee.
  • "Hear the Bells" contains samples from "Bells of Cologne" by Imaginary Cities.
  • "Fellow Feeling" features uncredited vocals from Amanda Lee.[14]

Chart performance

Chart performance for Worlds
Chart (2014) Peak
position
Australian Albums (ARIA)[60] 13
Dutch Albums (Album Top 100)[61] 96
UK Albums (OCC)[62] 86
UK Dance Albums (OCC)[63] 13
US Billboard 200[64] 18
US Top Dance/Electronic Albums (Billboard)[65] 1

References

  1. ^ a b c d e f g h i j Fitzmaurice, Larry (August 11, 2014). "Porter Robinson: Worlds". Pitchfork. Archived from the original on August 14, 2014. Retrieved August 17, 2014.
  2. ^ a b c d e Porter Robinson Interview: 'EDM is entertainment, it's not art'. NME. June 5, 2014. Archived from the original on February 13, 2024. Retrieved February 13, 2024 – via YouTube.
  3. ^ a b c d "Porter Robinson "Puts Emotion and Beauty First" on New Album 'Worlds'". Fuse.tv. June 2014. Archived from the original on February 13, 2024. Retrieved February 13, 2024.
  4. ^ 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.
  5. ^ 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.
  6. ^ 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.
  7. ^ a b c Moen, Matt (August 24, 2021). "Let Porter Robinson 'Nurture' You". Paper. Archived from the original on November 23, 2021. Retrieved August 29, 2021.
  8. ^ a b c d e f g h Cooper, Duncan (July 31, 2014). "Porter Robinson conquered EDM, and now he wants more". The Fader. Archived from the original on June 2, 2016. Retrieved September 25, 2023.
  9. ^ a b c d e f g 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.
  10. ^ a b c Interview: Porter Robinson on "Sea of Voices", Future Music Festival and more... (Part One). the AU review. March 21, 2014. Archived from the original on February 13, 2024. Retrieved February 13, 2024 – via YouTube.
  11. ^ 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.
  12. ^ a b c d Kellman, Andy. "Worlds – Porter Robinson". AllMusic. Archived from the original on August 11, 2014. Retrieved August 17, 2014.
  13. ^ a b c d Interview: Porter Robinson on "Sea of Voices", Future Music Festival and more... (Part Two). the AU review. March 21, 2014. Archived from the original on February 13, 2024. Retrieved February 13, 2024 – via YouTube.
  14. ^ 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.
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