I
recently tried to explain how important Daft Punk is to someone who had never
heard them, how they have been one of the flagship EDM artists since their
debuted in the 90’s, how they add a much-needed layer of intelligence to the
genre, and how countless artists have used their music or production expertise
to make some fantastic music. They
understood where I was coming from, but at the same time they just looked like
two robots pressing buttons on stage.
How much music could they actually be making? However, I think that touches on the most important aspect
Daft Punk brings to the table: anonymity.
They don’t want you to look at them. They just want you to dance.
It
has been about 8 years since Human After
All, Daft Punk’s last contribution to their impeccable discography. Since then we’ve had the live album Alive 2007 and that soundtrack I don’t want
to talk about. So these guys have
had a lot of time to regroup, and the anticipation is somewhere in the
neighborhood of astronomical. Did
they live up to these guys live up to these expectations? Not exactly, but in the best way
possible.
If
you picked up one of Daft Punk’s first 3 albums you would get a taste of what
EDM was about to do. These guys
were defiantly ahead of the curve, and so each album was a preview of what
other great music was about to come out in the genre. In this album instead of looking forward these guys took a
180, and set their gaze square in the late 70’s and 80’s. The songs are less EDM and more disco,
funk, and proto-pop. However, even
when these guys are looking backwards they can’t help but keep moving
forward. The album is not quite
from yesterday or today, but instead floats in the ether in-between so people
on either side can enjoy it.
Another
big departure for these guys was the total lack of samples in this album. They also limited the electronic
instruments used to drum machines, synthesizers, and vocoders. Because of this we get to see that
these guys are just as talented at performing music as they are producing it. Everything you hear in this album was
recorded for the album, and these guys spared no expense. They brought in a slew of famous and
influential artists including Panda Bear, Nile Rodgers (of Chic), Julian
Casablancas (of The Strokes) and Pharrell Williams. Each contribution is starkly different, and adds a dynamic
variation that keeps you dancing throughout.
As
far as individual tracks go there are certainly some standouts. However, if
you’re listening to a Daft Punk album for it’s singles I would recommend you
reconsider. These guys have
constructed an album with its peaks and crests for you to enjoy in its
entirety. Like one big party,
there isn’t just one speed. There
are twist, turns and changes, and the only thing you can do is just keep
moving.
So
this might have not been the EDM album I was expecting, but Draft Punk didn’t
promise it would be. All they
promised is a good album you can dance to, and they delivered. Instead of sticking with what works
these guys push the boundaries in a genre where “staying the course” might not
get you critical acclaim, but can pretty much guarantee a paycheck. These aren’t trying to be cool or make
what they do cool. They just do
what they do, and what do you know, it just happens to be super cool. I would recommend this album to anyone
expect those people who outlawed dancing in “Footloose.”
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Julian Casablancas...of The Smiths?
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