As of this month, a year has passed since the release of Daft Punk’s Random Access Memories. The hype has somewhat dissipated, the dust has settled. Now it’s time to ask: Did RAM live up to the hype? Is it a Daft Punk classic? What does Daft Punk’s journey into disco past mean for our music present and future? (for the TL;DR version of the answers, scroll to the end)
Few artists in the history of time have had the enigmatic effect on the music industry quite like Daft Punk. It takes someone or something special to cause such a whirlwind of rumours and myths to circulate constantly over two decades’ time, ranging from surprise appearances to the actual identity of the persons in question, Thomas Bangalter & Guy-Manuel de Homem-Christo. In the 12 year time gap between their last album and RAM, (excluding the Tron soundtrack) the rumour mill was still well-oiled and running, with people predicting release dates of the next album, asking the questions “is there even going to be a next album?”, “when are they touring again?” or, as one internet punter asked an online Daft Punk FAQ, ‘are they dead?’
I personally found this ‘partially’ helpful.
In February last year, Daft Punk finally came out of the shadows with a solitary image of the iconic split-helmet posted on both their website and Facebook. This first contact from the pair, in what felt like decades, sent the online world into a frenzy, with Facebook, Twitter, music blogs and forums alike going into overdrive. Even their manager, Paul Hahn, was staggered by the internet’s reaction, commenting that his favourite tweet was, ‘Daft Punk posts jpeg, crashes internet.” The incredible fact was that nothing about a new album was mentioned, though everyone was taking from that simple image the same message:
Daft Punk were back (and were definitely alive).
Rudy Mechekoff (above) makes a good point
With tongues wagging and fingertips furiously a-typin’, Columbia Records slowly rolled out the remainder of the Random Access Memories campaign to the bated breath of fans worldwide. But there was something different about this promotion. The helmet image posted onto the internet was typical of an album release but it was one of only a few engagements in the digital sphere. Instead, as hinted in a blog announcement by Chic guitarist and producer Nile Rodgers, it seemed that Daft Punk (with Rodgers as a suspected collaborator) were opting for a campaign encompassing all things retro. This was the first clue that Daft Punk was taking a new, funky direction.
Billboards began to pop up along Sunset Boulevard, replacing ads for “fat-reduction pills and local car-insurance companies,” imparting a “physical, visceral quality” and creating “something of permeance,” according to Paul Hahn. A 15-second teaser advertisement also bookmarked a Saturday Night Live episode (overshadowing Macklemore’s appearance on the show), both giving a nod to “pre-MTV era of marketing”, as Paul Hahn put it, with the latter subsequently crashing the Daft Punk website within 4 seconds of its appearance. It was a delightful mix of eras, with the clever use of varied media elements thought to be antiquated in the music realm.
Columbia Records still had more surprises up its sleeve; slowly giving away more and more pieces of the puzzle that was Random Access Memories. These consisted of a retro-futuristic web series, a multi-part YouTube documentary revealing some of the collaborators, more billboards (this time at prime positions of SXSW & Ultra Music Festival) and another SNL advertisement. This was all topped off with an extended 60-second teaser projected to the audience at Coachella, revealing Pharrell as a collaborator and stirring rumours that Daft Punk would be doing a surprise set (little did they know that the two men they craved so much were actually watching the teaser from the crowd amongst them. Truly Gods amongst mere mortals).
The campaign continued to stir up hype and demand attention, certainly a contrast to the two Frenchmen who have insisted on keeping their identities hidden underneath robot heads since the ‘90s. It exuded a promise of something great, with Columbia’s Chief Executive, Rob Stringer, likening it to when record companies used to have the “confidence that they had a big, big record.” There was no question they had the confidence. At this point it was bordering on cockiness.
Finally, the time had come for their 4th studio album to be released and in classic Daft Punk style, the launch was to be held in where else but ‘Wee Where..?’, only adding to the mystery and intrigue of the saga.
The time came, the time has passed, and now we’re left to ponder the question:
Did the machines live up to the hype?
Now that the dust has settled, the rumours have calmed (for now) and everyone has a copy of RAM in their once-hot little hands, I beg the question: did the album live up to its hype as the most anticipated album of last year/decade/century/millennia?
Obtaining the status of most critically successful album with a score of 87/100 on Metacritic, winning numerous Grammy Award wins, including Album of the Year, Best Dance/Electronica Album and Record of the Year, and debuting at number one in twenty countries, I’d be stupid to say no. I’d also be lying.
They gave life back to music.
As the introductory song to RAM states, Guy and Thomas-Manuel aimed to revive the magic of albums apparently lost in the riff-heavy EDM haze. Professing to be bored with the electronic music style they so happened to help create, the pair chose to shy away from samples and other immediately-gratifying features of electronic music. Instead, they opted to bask in the styles and techniques of the disco era, turning back the clock to the late ‘70s/early ‘80s. In an age where so many songs are conceived so quickly and proficiently on computers, Daft Punk’s reintroduction of disco is refreshing, with The Scissor Sisters’ frontman, Jake Shears, comparing it to a “giant, fresh glass of water that so many people have been thirsty for for so long.” This style is evident in their use of multi-layered vocals, accompanied with a slew of instruments and expert instrument implementation (dem guitar licks), adding to the intricate level of detail and musical thought rendered throughout the album.
They spared no expense to accomplish this; rounding up the best musicians, recording in the finest studios around the world and incorporating orchestras and choirs at will. With this, they’ve managed to create a new sonic-age while still maintaining their classic Daft Punk . Many would prefer for them to simply stick to what made them what they are, but at some point, purely programmed music would become tiresome. As Giorgio Moroder said, “they had to do something which is different – still dance, still electronic – but give that human touch back.” And it’s that simple idea of personifying electronic music again which has so influenced the disco/funk trend so evident today.
RAM was an Instant Crush, but was it an Instant Classic?
Random Access Memories‘ cinematic nature makes it an album that needs to be heard in full, a style which doesn’t make it a classic in the way that its predecessors are. Of course discluding popular Get Lucky and Lose Yourself to Dance, you wouldn’t expect to hear many of their tracks, such as the musings in Giorgio by Moroder or the cinematic story of Touch in any old club. This is where Daft Punk’s style in RAM is noticeably different from their past works. It seems they have created this to be more of an event, more of a journey from start to finish, not dissimilar to the records of the past. This in turn requires a lot more effort from the listener, proving difficult for some, who would prefer the immediate gratification from one of their more electronic numbers such as Harder, Better, Faster, Stronger.
Although this way of approaching the album may be labour-intensive, it is greatly rewarding. RAM manages to surprise you with something new every listen, whether it be the instantly funking guitar lick on Lose Yourself to Dance, the steady beat of Doin’ It Right or the Broadway production that is Touch. It’s the complete disregard for trend that makes RAM stand out as an innovator, jam-packed with music of an older-age for a future generation.
Disco is Alive and Stayin’ Alive.
Although many artists have quietly been making disco-influenced music, it seems that all we required was the Daft Punk effect to really start the trend. Sonically, it’s re-introduced the idea of human-sounding music into the dance genre. Ironic, considering it came from a pair of robots. Nile Rodgers, one of the main collaborators on the album and the ‘Mozart of disco’, has attributed this renewed affection for his beloved disco to its “complex simplicity” and absolute “bliss of grooves.”
It has the ability to encourage people to get up and dance, rather than “people standing there” and “nodding their heads”, as stated by Dec Lennon, the head of a dubstep/grime radio station, comparing the new disco wave to the dubstep era.
Mixmag’s Duncan Dick positioned RAM as a “game-changer for dance music,” getting out of the EDM comfort zone that so many artists are stuck in. “It’s as if they’re trying to turn the clock back to a time not only before EDM but before even acid house,” he wrote. “This isn’t Daft Punk trying to get back to the warehouse or the rave but back to the discothèque.” Dec Lennon has also attributed it to people “opening up, getting loose, having a drink and a dance.” Hugo Gruzman of Flight Facilities has also chimed in on the subject, comparing EDM to electronic disco, stating “it’s the difference between a quick shag and an all-night love-making session”.
It seems everyone has the fever, with artists adopting the disco trend at a critical mass. This past year, we’ve already seen artists such as Jungle, Chromeo, Chris Malinchak, Juce, Flight Facilities, Todd Terje, Blood Orange and La Roux (just to name a few) creating ‘70s/’80s-inspired tunes. Not to mention the slew of artists like Clean Bandit and Avicii who have found huge commercial success with their disco-flavoured numbers.
Pharrell Got Lucky.
No, not in that way! Well, probably also in that way.
Another artist who has greatly benefited from the success of Random Access Memories is none other than former N.E.R.D pioneer, Pharrell Williams. Although quietly producing tracks with a host of other artists, it seemed he’d been hiding in the shadows for the past few years, appearing his best days were behind him. Pharrell himself confessed that his first solo album, In My Mind, was a “dreadful experience”, making him think that his “days as an artist were over.”
It wasn’t until he met with Guy and Thomas-Manuel and pleaded to their manager for a chance at collaborating, saying “anything you want me to do, I’ll do. I’ll play tambourine on your next album,” that his luck began to change. He stated that he was “happy guesting” or “producing work” but the French dance stars asked much more of Pharrell, inviting him to sing on their hit single Get Lucky and further collaborate with them for the entire album.
This turn of events has him convinced that Daft Punk brought his solo career back from the brink of nonexistence.”Working with Daft Punk has been a huge part of the journey to where I am today… I was appreciative when I did it and I’m still appreciative of the chance I was given,” he has commented. Daft Punk, with their album Random Access Memories, helped shine the spotlight back on Pharrell, breathing life back to his career and revealing the producer for the amazing talent he is, helping him re-emerge into the music world as, what The Guardian describes him, a ‘one-man disco revival.’
TL;DR: Random Access Memories was great, Daft Punk revived the disco era, they inspired other artists to emulate electro-disco, they kick-started Pharrell Williams’ solo career and, basically, boogie is back and it’s, hopefully, here to stay (at least until Daft Punk’s next album).