![]() ![]() It’s a tantalizing taste of what could’ve been: the Tron soundtrack arranged for a quintet, the transformation of Daft Punk’s computerized music to a full band pushing out dance music. ![]() The lone time they approach their usual sound is “Contact”, the last song on the album. Nothing here sounds like anything you’d want to dance to: “Lose Yourself To Dance” is soulless funk, Within is a piano ballad with computerized vocals and “Touch” is an eight minute track with diarrhea of the keyboards. “Giorgio By Moroder”, the track mentioned earlier, sounds like a radio documentary. Gone is anything recognizable of Daft Punk’s sound: there’s a soft funk guitar, courtesy Nile Rogers ( guess they saw that documentary too), live drums and Pharrell Williams singing “we’ve gone too far to give up who we are.” The irony’s delicious, folks.Įlsewhere on the album, they drift between boring and dull. The problems with Random Access Memories start right with the first single, “Get Lucky”. The first time that song came up, I thought I’d accidentally flipped to This American Life for a moment. ![]() It has nothing to say, so it’ll let Giorgio Moroder ramble for a track. Where their last full-length was pointed in criticism (Television Rules the Nation as one very on-the-nose example), this album is relaxed to the extreme. This could’ve been an interesting change for Daft Punk, but it doesn’t work. Gone are the hard edges of Human After All or the heavy sampling of Discovery, let alone the sense of experimentation on Homework. The latest album by the giants of Electronic Dance Music is a strictly analogue album: cheesy keyboard, chunky guitars and live drums dominate this record. And now’s the latest and cruelest turn: Daft Punk and disco culture. In Fargo Rock City, mop-haired journalist Chuck Klosterman tried to make hair metal cool again. Isn’t it strange how once we forget to mock something it comes back and starts becoming cool again? A few years back, Journey became trendy again. ![]()
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