Random Access Memories is a mere silhouette of what we expected from electro-funk connoisseurs Daft Punk.
As many albums before, anticipation has outdone itself. No doubt the album succeeds in providing some uplifting harmonies with some simple but attractive guitar riffs however, once again curiosity has killed the hypothetical cat.
Musician Giorgio Moroder adds his own insight from the past to the new Daft Punk album overlaying his comments on the third track of the album, Giorgio by Moroder.
“I wanted to do an album with the sounds of the 50s, 60s, 70s and then a sound of the future…I thought wait a second, I know the synthesiser. Why don’t I use a synthesiser? That is the sound of the future.”
Giorgio’s outlook shares a determined principle that the French duo Guy-Manuel de Homem-Christo and Thomas Bangalter seem to have followed in creating the album’s theme.
Old is the new…’new’.
In a way, they are right but for old to be new, old needs to be NEW (if that makes any sense… ) – and constructed in a way that enhances music for the better.
The eclectic set of tracks released on the album have all the same traits from past albums, including the use of vocoders for vocals on most tracks, blended with their ambient trailed out electronic ensembles.
This is Daft Punk through and through and it is what they do best, but this quality has also set limitations on how far the band can continue to revolutionise the electronic genre.
Despite this dilemma, there is huge admiration for the bands source of stars on the album ranging from Julian Casablancas to guitarist Nile Rodgers – and even pianist Chilly Gonzalez features on the track ‘Within’.
Overall, Random Access Memories has a lot of appeal with a softer, more gentle touch to electro-pop and contains moments that will leave fans in awe of the duo’s supreme talent.
Yet, the albums regurgitations of dated tendencies will soon leave a bad taste in the mouths of many who wanted more.
Follow me on Twitter @trawle91