WHEN the biggest dance act in the world get together with one of the most successful producers of all time, you know the buzz surrounding the release is going to be massive.
Having just signed to Columbia Records, Daft Punk’s marketing team got it spot on by releasing teaser videos of a new track at Coachella festival and on Saturday Night Live. These were nothing more than a loop of a visual which lasted about a minute in length. It turns out that’s all that was required to make sure the world was hooked on the first new material from the French duo in eight years. That track was Get Lucky.
The album is reminiscent of an early Daft Punk sound, managing to magically incorporate the sounds of modern disco music. The 13 track album takes listeners on a journey with each song contrasting the latter. Orchestras and choirs make Random Access Memories a memorable listen.
With a mix of synths, the unmistakeable funk guitars of Nile Rodgers and massive pounding drums in track Give Life Back to Music sends you in an exciting twirl. The track then breaks down into a guitar-led funk song with an elegant keyboard playing in the background giving it a soft tone. The way the synths are used is rare in this track; used in the run up to the chorus to make it sound ‘together’, before Rodgers kicks back in with his clean sound and the famous Daft Punk vocoder starts to sing.
The game of love has a tranquillity feel to it, slow-paced with a distinct guitar tone playing over an enlightened piano piece, with a soft vocal crossed with the vocoder. This is Daft Punk’s own twist on a soul song.
“When I was 15, 16 when I really start to play guitar” is the open spoken word of Giorgio by moroder, a well-placed funk beat begins to emerge behind the story. And, actually, the story is as interesting as the music. He tells how he created the sound that is the synthesiser, and as he ends with the words “but everyone calls me Giorgio” the synths start, replacing the funk guitar of the previous tracks. Yet, still managing to create that funk edge. By this track, you know you’re not in another Homework or Discovery kind of album.
Within begins with an elegant piano that would have been typically placed on a classical album instead of a Daft Punk one. Yet, this heartfelt tune has something about it that makes it instantly likeable. The vocoder is the last thing you’d expect to be used for vocals on this classical-sounding track, however it’s used. And nicely, too. It really does add a kind of heartbroken touch to what is already a song about looking for love.
The Strokes would have loved to have written the next song Instant crush, but since they didn’t- the next best thing is to have Julian Casablancas guest on the track. This song is reminiscent of French band Phoenix. An electronically-processed effect on his vocal gives it an electro twist. Listening to the track you’d actually think it was a family affair with Nic or Albert playing guitar alongside Casablancas, which only adds to the charm. This is a stand-out track with the best and catchiest chorus so far.
Next collaboration is with NERD’s Pharrell Williams, who features a couple of times on the album. This is night and day compared to radio-hit Get Lucky and is the first track on the album so far where there isn’t use of an effect on the main vocal. It features a slow-paced grove that get your head and feet moving, Lose yourself to dance is exactly what you’ll do, as a vocal from the duo then come into play and a backing vocal encouraging you to get up and dance.
Singer Paul Williams takes the lead in next track Touch. This is a surprising addition to the album; it actually makes you think you’ve stuck on a Broadway album instead of an electronic dance one. The fact that the Frenchmen are able to add their own twist to such a track and still stamp their mark on it emphasises the reason why this is one of the most anticipated albums for years. The song takes a while to build into the vocals, with electronic riffs and whispers of the word ‘touch’ opening the track. This then leads into a few seconds of quiet music and ‘Broadway-esque’ vocals from Williams. A funky guitar beat then builds into this song, but it doesn’t really go anywhere quick enough. Although interesting, Touch takes a while for me to understand what it’s all about. It all gets quite funky and finally, I get it. However, it slows back down again with repetitive vocals and echoes from a choir-like vocal in the background. It’s all a bit confusing- Touch is interesting, electronic, Broadway and weird all at the same time; a great addition to the album all the same.
Get Lucky is up next. If you haven’t heard this one, you’ve probably been hiding under a cave somewhere- and even then, you are sure to have still heard it. Get Lucky features one of the world’s ground-breaking producers on lead vocals, Pharrell Williams. Wonder why it sounds a little like chic? The infectious guitar riff at the heart of Get Lucky is played by Rodgers, the 60-year-old guitarist from US disco-funk pioneers, Chic. This track is testament to just why Daft Punk are the gods of dance music, with its soft tone and well-layered tuning, Get Lucky is it. Catchy lyrics “She’s up all night for good fun, I’m up all night to get some, she’s up all night for good fun, I’m up all night to get lucky” are testament to why this is the track echoing throughout dance clubs around the world; absolutely a contender for track of the year.
An orchestra begins Beyond and it all slows down again. Daft Punk take control of vocals again on this track, but it appears to be a little too laidback and is a little repetitive- same goes for the next track Motherboard.
Moving along, legendary house producer Todd Edwards collaborates with Daft Punk on Fragments of Time, Edwards has a late 1950’s style of voice which works well with this soft track. This is one of the most surprising tracks of the album and is a song you would expect to be more likely suited to the likes of Simply Red. However, it manages to come into its own when you hear the beat in the back, showcasing exactly what Daft Punk are famous for. It again focuses on a soft approach in the verse, building up to a prominent electronic melody in the chorus. This is, for sure a track to be heard down Café Mambo in Ibiza while the sun is setting in the scenic sky.
Doin’ It Right is the last of the collaborations and features Panda Bear, lyrically its a catchy track with simple repetitive lyrics and Daft Punk’s vocoder harmonises with Panda Bears which reaches an enjoyable higher note. The song itself is based around the drum machine that’s used to create the beat with different synths coming in to add to it in the background.
Old school Daft Punk, which everyone holds some nostalgia for, is definitely heard in the last song on the album Contact. Slow to start, with an electronic repetitive riff and audio from air traffic control, the track then builds up to Daft Punk trademark noise, layering different elements to create a fantastic noise. The layer that takes you back a little is the energetic drum beat- complicated in its own random way- it’s the most precious part of Contact. It is as if the entire album builds up to this song which explodes half way through with the drum beat taking lead in the absent vocals.
Random Access Memories may not be the big disco production that fans are used to, but just one listen shows that the French duo have not lost their raw talent. They’ve dragged their music into right now but have still managed to keep that Daft Punk stamp.
Words: Rebecca Jolly and Neal Mcharg