This looks like an episode of Futurama pic.twitter.com/ynmZNpnRWn— putrid eel (@SquidDad) January 28, 2014
Get Lucky was all set to be the summer jam of 2013, but because of the album hype and promotion it was dried up by the middle of July.
It has now become the point in the summer where Daft Punk’s “Get Lucky” has become Gnarls Barkley’s “Crazy” and every band under the sun is deciding to cover or remix it.
Unfortunately, I think that’s a pretty good analysis of what’s happened.
After reading this feature in Pitchfork on Daft Punk, plus listening a few times through to their new album, I’ve about had enough. Since their press downplays the actual music, I will too.
Let’s talk about their elitism and authenticity, then.
Noodly jazz fusion instrumentals? Absolutely. Soggy poetry and kid choirs? Yes, please. Clichés that a B-list teen-pop writer would discard? Bring it on. The duo has become so good at making records that I replay parts of “Random Access Memories” repeatedly while simultaneously thinking it is some of the worst music I’ve ever heard. Daft Punk engages the sound and the surface of music so lovingly that all seventy-five loony minutes of “Random Access Memories” feel fantastic, even when you are hearing music you might never seek out. This record raises a radical question: Does good music need to be good?
I really really like this album, but1 I feel like I’m being tricked into it because every track is something/someone other than Daft Punk. The formula is overwhelmingly riffs on top of a drum track that never progress. The closest we get to that is the “come on come on come on come on Come on Come on COME ON COME ON COME ON COME ONNNNNNN” of Lose Yourself To Dance.
Still the best new music I’ve heard this year.
I know it’s nitpicking, but the bar was raised REALLY high already. ↩
Its natural conclusion.
i – III – V – IV
And since it’s only four chords all you need to do is add funk.
President implores Daft Punk "hurry up put the new record out we all had a shitty week it's only Tuesday" go home mr president you are drunk— butt stuff reindeer (@mattfraction) April 16, 2013
Electronic music right now is in its comfort zone and it’s not moving one inch,” Thomas says. “That’s not what artists are supposed to do.” He adds that the genre is suffering “an identity crisis: You hear a song, whose track is it? There’s no signature. Skrillex has been successful because he has a recognizable sound: You hear a dubstep song, even if it’s not him, you think it’s him.
Check out their Koopa Beach cover.
Mario Kart meets Daft Punk.
Awesome news for those who like to keep their feet dancing.1
10 years ago they gave it a 6.3.
Discovery is my top played album according to Last.fm.