Daft Punk
Random Access Memories

That Daft Punk were one of the most overrated groups, I already knew that. It's useless for me to get upset reading the comments on YouTube, half in English, half in French, to spice up the expression with a reference to the nasty origins of the two guys of electronic music, but "they know a lot because they have a diploma from the conservatory". The diploma "from" the conservatory means nothing, as demonstrated by Allevi, as demonstrated by them. What counts is what you do, and in this, Daft Punk are out of date.

Meanwhile, I listened to the album scattered on the tube, didn't intend to buy it, nor did I intend to inject it in its entirety intravenously. I had to ration the listening so as not to risk being admitted to the nearest hospital with a three-meter anal prolapse. "Get Lucky" is the first I listened to (random order, clearly). The sound is a reference to the worst of the '80s, harmonic investigation equals zero, static, predictable, overused, the same as a thousand other songs (like the one that goes "my dream is to fly, over the rainbow so high etc. It was trendy not long ago in discos) and then there’s that other guy Pharrell. One of the many blacks who ruin the image and cultural power of a people now based on a neo-folklorism of tricked-out cars, butts, and benjamins. Then a "beautiful" solo in robotic voice, which reminds one more of a night mosquito that tickles the ears and disturbs the sleep. Overall though, I expected worse. Then it’s time for "The Game Of Love". Blander atmosphere. Needless to say, harmonically there’s very little of interest, apart from some electronic ornament with a "nighttime" taste. In the meantime, I realize that the electronic "autotuned" voice is unbearable, sickly-sweet, and cloying. The melodies especially of the voice are useless even if dynamic (almost always in modern light music the melody of the voice tends to change little. In metrics to more syllables can correspond the same note, then change for a couple others and finally return to the one before. This in contrast to an infinity of traditional music, from Irish to Sardinian, but also to more modern music but, in fact, of a greater level than these "geniuses of the conservatory" of Daft Punk). This is probably because, using autotune, they had fun playing around with it randomly. Then I listen to "Within". We start well: the piano intro is better than any piece by Allevi. Then I hear the chorus. That chorus is the most disgusting thing I’ve ever heard. Childish, sugary, a bad theme song from some cartoon for little girls. After vomiting a couple of times, I recover and catch a couple of unusual drumming ideas for such low-level music. Well, in the immense musical panorama they are nothing remarkable and especially a couple of accent changes are of little use when the song is crap. It's time for "Lose Yourself To Dance". Meanwhile, I notice that the '80s taste doesn't go away even with acid, with its little guitars and falsetto voices. I notice with joy that even here I'm facing a track that never changes its chord progression. I say "with joy" because I'm having fun hating these guys. Melodically we're back to square one. A slightly less stupid melody than "The Game Of Love", too bad the chorus seems an excerpt from that other disco song that went "Please Don’t Stop The Music", if it weren't for that robotic voice that says like "cmon" in syncopation, pseudo polyrhythmic 3/4 on 4/4 that obviously extinguishes after a couple of bars to then resume on the scale of the next chord. I say: a song of over eight minutes, maybe it’s more interesting and experimental (groups like this must focus on experimentation not to suck, I guess they’re not capable). This is "Touch". Promising start, atonal and metallic. Then more '80s little guitars (again), then ultra-high-pitched nighttime sounds. Christmas harmony, Christmas sound. A bit of Latin taste and soft joy a bit vintage. Nothing impressive, except that maybe finally the harmonic progression changes. Static voice, same melody. I'm sure the use of strings drives fans crazy who bring up the conservatory story to legitimize the credibility of this shitty group. Another Christmas atmosphere with white choir voices. At the end of the song, I realize that the harmonic progression has always been the same, vaguely different here and there, and that probably the composer at the time of creation wanted to start from a jazz-crooner matrix to give a vintage touch. I expected worse, probably the electronic squirts scattered throughout the piece distracted me from the fascinating vastness of nothingness that "Touch" and generally the whole album express and in general this shitty band.

Then I refuse to listen to the rest. After well five (five?) songs listened to and vomited over and over, I avoid continuing, it seems to me that they are enough to be able to draw conclusions about the work and the author. Poor people, who should go unclog the toilets of beer festivals in Germany, rather than conservatory. Musicians who dedicate their time and talent (assuming there is any, in fact there isn't) to ruining this world deserve death. Deceivers of other poor (not only intellectually) who swallow all their bullshit as if it were mountain water. There is no innovation, no complexity, no care, no experiment, no love, no tradition, no meaning, no anger, no conservation, there is absolutely nothing. What did I listen to? I listened to the poverty of the future that awaits today's youth. Thankfully huh! To death with youth if then they listen to this stuff. Daft Punk and their "moronic" music.