![]() And while it is inarguable that the duo has established their own signature sound, there are pockets of this record where they find too much success in mimicking the high budget studio productions of the 70s and 80s. "You hear a dubstep song, even if it’s not him, you think it’s him". He goes on by pressing Skrillex as an example, pointing out that the artist has been "successful because he has a recognizable sound". Weeks into the hoopla of hype surrounding RAM, Thomas Bangalter touched on the lack of individuality in the bubbling EDM genre, saying that the artists are suffering, " an identity crisis". "You hear a song, whose track is it? There’s no signature," he lamented. ![]() ![]() The DJ Falcon collaboration was written before their Alive 2007 tour, and you can certainly hear its age as it bounds a coat of electro nostalgia that feels a bit out of place in the entire LP.ĭoin-it-Right-EM0513 Play: Daft Punk – Doin' it Right Closing out the LP in a fiery finale of live drum breaks, tense synth risers, and edgy guitar chords, "Contact" is the only track carrying samples on the album. Coupled with the echoes of Animal Collective's Panda Bear and a lush vocoder belting the album's catchiest robotic hook, the track is sure to be a modish hit DJs will be reaching for to fuel the dance floor. Next is "Doin' it Right", a tune almost void of any melody, with the music thriving on the beat of an 808 drum machine and not the other way around. The song is quite a step from the expectations of fans who longed for another "Face to Face", but Todd's vocal performance can still be pinned as one of the strongest on the album. Co-produced and sung by Todd Edwards, "Fragments of Time" captures the easygoing and balmy moods of the west coast, sunshine et al. Love it or hate it, the tail end of the record is a mesh of places and eras that can be fillers for some, and gems for others. The French touch is strong in this one, and with Giorgio’s monologue inexplicably guiding the progression of the track, Daft Punk has tastefully captured the innate beauty of snapping a changeless moment in time and running with it. That being said, "Giorgio By Morodor" has been instantly held up as a fan favourite as it rolls around in the modular synth driven stomp many immediately seek out in a Daft Punk record. Numbers like "Within" and "The Game of Love", while good at being their sorrowful, angsty selves, are the sort of lulls that would have a better place in the middle of an LP, after the initial wave of pumped expectations and excitement have washed over. And while many would say throwing Julian Casablancas through a soft vocoder in “Instant Crush” was taking the road less traveled by, his croaky vocals have yet to make a debut in a dance record, which could have yielded fresher results than the chosen synth pop direction that comes off buttoned-up and predictable. Not to barrage the album by immediately diving into its faults, but the first half of Random Access Memories suffers from a rather gloomy tracklist. In a time when hotels have turned into makeshift studios with bedroom producers topping the charts, the release of a lavishly crafted album that would cost an arm and a leg for any flavour of the week to produce couldn't be more contemporary. So captivating that the lead up to the release of RAM wasn't just a brilliant marketing campaign, it was a cultural event-teeming with a global red carpet of oohs and aahs as the duo lifted their star studded covers at a painstaking pace. Five years and one inflated recording budget later, Daft Punk's fourth studio album Random Access Memories has finally hit the shelves in a display of major label fireworks.
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