Daft Punk
Random Access Memories

The Daft Punk return three years after the soundtrack "Tron: Legacy", and their last official work "Human After All", an album that made some people raise their eyebrows but expanded the fanbase of the two robots thanks to the worldwide single "Technologic". In 2013, they return with "Random Access Memories", an album that once again sparks discussions and brings quite a bit of controversy. Some have contested the fact that Daft Punk have completely lost their edge, while others accuse the album of being overly pompous, pretentious, rhetorical, and devoid of ideas. From my personal point of view, Daft Punk in this album once again maintain their message consistent; in fact, from "Homework" to this latest work, the Parisian duo hasn't really changed their style, they have simply EVOLVED. And it's something completely understandable, beyond the fact that some may not accept the change, but this is ultimately a problem of the fans, not of the group.

"Random Access Memories" collects everything that has been dictated so far by their works, particularly "Discovery" when it comes to more elaborate productions with retro sounds and continuous references to their favorite imagery. The album indeed contains true musical journeys, most notably "Touch": 8 minutes in which Daft Punk create a sort of cinematic suite, with the participation of Paul Williams, a well-known singer/author and actor of "Phantom of the Paradise", a film that inspired both musicians, and it's no coincidence that at a certain point the piece changes course: it begins slowly, proceeds with a honky-tonk rhythm, and catapults us into this ballroom with a festive and joyful atmosphere, until the entrance of a charming children's choir, interspersed with a sequence of strings inspired by "A Day in the Life". The fact that I evoked the Beatles is not trivial. The best episode, however, is without a doubt "Giorgio by Moroder", with the participation of one of their disco music masters (and beyond) in another small masterpiece: '80s synths, jazz accompaniments in the central part, an orchestral intermission, and an explosive finale where a rock-style drum and guitar come in, culminating with the bouncing click of the metronome from where the sound was conceived, like a sort of return to the origin. A masterpiece. The third truly splendid episode is "Contact": an introduction from a space enterprise complete with the voice of the onboard computer, and then that organ accompanied by a drum launching the listener into a true cosmic journey: the finale is amazing, a vortex in which we enter a storm of asteroids to speed through the space/time boundaries. An amusement park style auditory experience.

The album clearly looks to hit-making as well, and those that are present do their job best: "Get Lucky", a track criticized by many for its apparent banality, is actually a very fun piece: participation of Pharrell Williams on vocals and Nile Rodgers on guitar (the latter certainly not just anyone) and "Instant Crush" with Julian Casablancas which, although being a listenable song, pales in comparison to the masterpieces I described earlier. I admit that the radio play of these two hits might have made them hated, but they undoubtedly remain two well-crafted pieces in their purpose. How not to delight as we proceed with "Lose Yourself to Dance", a jolt of magnetic positivity based on a tasty and engaging funky rhythm, as well as the delicate and elegant "The Game of Love", a mix in some ways between "Something About Us" and "Make Love", even if I do not particularly appreciate the vocal effect used, in my opinion too messy and somewhat nauseating; the same goes for "Within", constructed on a wonderful movie-style piano but which loses itself in the tolerance of the voice. Enjoyable tracks like "Beyond", with an orchestral intro resembling "Back to the Future", and "Motherboard" with its intermezzo of space synth orgy, and particularly pleasing "Do It Right" with its fresh choruses, creating a simple yet damn catchy vocal line. There are then also episodes that I believe are minor, such as "Give Life Back to Music" and "Fragments of Time", clearly well thought out but less memorable. All in all, although not all tracks are on the same level, the album flows delightfully: it entertains, amuses, astonishes, moves, makes you dance, and all with a meticulous care in every single loop within the productions.

Daft Punk surprise once again, with one of their most criticized albums for the musical detachment, yet they always keep their identity consistent, conceptually developing their style and proving to be always on the crest of the wave, maintaining their trademark intact and an impeccable quality as usual. Have a great journey!