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“Black Skinhead” is cool but I wonder how much cooler it would be if MC Ride were to have done the opening screams.
We can all probably agree that the marketing campaign was fun at the time but a bit of a misstep in retrospect. It makes you wonder how different the reception would have been if Daft Punk pulled a My Bloody Valentine on us and announced the album only a short time before its actual release. The Creator’s Project videos could have then followed to give the album a little more context and not to hype up the record as if it was going to be the next modern masterpiece. It seems as if a lot of dissenters are let down by how little this album actually progresses dance music (contrary to what was said during some of the CP’s interviews) but that is actually a flattering criticism but it isn’t often that people think less of an album because it didn’t reinvent an entire genre.
Listening to the it for the third time, RAM strikes me as being a solid piece of immaculately produced French lounge that doesn’t break barriers as much as it sticks to what can make party soundtracks fun and timeless. It stops short of hitting that special nerve and sending me into musical euphoria but then again, so does 90+% of all the world’s decent music.
The cheese is part of what makes this LP appealing. There is definitely some campy humour to be found in tracks like “Within” (lol @ those chimes) and – yes – “Touched”, because how could a throw-back to a particular era of music have wide appeal if it takes its retro style and aesthetic too seriously?
I agree with most of your criticism (especially about “Doin’ It Right” sounding too busy with the robot vox) but lol, why the comparison to Eiffel 65? Does RAM really come across as derivative eurotrash to you?
Almost done the album but to offer some first impressions…
This may not be a popular opinion but while I find the first half was a little on the choppy side, the second half is a wonderful trip. Many of the low points of the album for me result from attempts at creating an ear-worm with some of the most inane hooks (“Lose Yourself to Dance”; “Fragments of Time”) and the high points of the album are when Daft Punk either take big risks with song-structure and composition (“Giorgio By Moroder”; “Touch”; “Contact”) or revisit classic musical conventions and apply their own spin on kitsch genres like disco, early electronica, and the like (“Beyond”; “Motherboard”; and again, “Touch”).
This is a big and plentiful album that requires a few more play-throughs but as a casual fan of the group, I am not disappointed but not as blown-away as I maybe could have been. Then again, I said the same thing about Discovery upon first listen so who knows how much of a grower this album could be…
The 16 y.o. in me is crying of joy.
I WANT TO UPVOTE THIS!!!
holy thesaurus batman!
Does this video remind anybody else of that Futurama episode where Fry and his girlfriend are captured by pipsqueak ruffians in LA?
Hate to give another “reminds me of…” but damn, I do sense a lot of similarities between this and “Laura Palmer’s Theme” from Angelo Badalamenti’s score for Twin Peaks. Some of the chord changes are even the same, I think.
I like Diplo, but life is too short for this.
All I gotta say is that this is a pretty cool track.
Would give you the link if I could but I’m not partial to posting copyrighted music on public forums.
Try PMing me on Facebook, maybe.
When “Loveless” was released, I was a little more than two months old. Yet, I’m still able to enjoy the energy surrounding to release of that album’s worthy follow-up.
Thank you, Kevin and the gang, for the belating the release to let all us millenials enjoy the launch.
OK, a VO converted from FLAC just leaked. Sounds wonderful.
Apparently the MP3 version that the site is selling is a poor transcode to 320 kbps.
Best to go with the WAV version, me thinks.
The Coachella-Facebook page recently posted an ambiguous photo of a round stone in a plain field so yeah, there’s a strong possibility…
Doldrums is my most anticipated. Really looking forward to hear how he refines his sound because what he has released thus far has only just trotted the surface of brilliance. I like to think that he is just teasing his listeners in anticipation of something fantastic.
Also, they might not be everybody’s favorite group right now but Death Grips are planning another release. I don’t think that they’ve recorded anything just yet but they seem to make music pretty damn quickly.
Everyone needs to do themselves a favor and listen to his Phillip Glass collaboration (called “Passages”). It’s like the greatest film score that never was.
Sgt. Pepper’s Lonely Hearts Club Band
Zappa’s “We’re Only In It For the Money” would be swell.
Pretty cool. The production’s lacking something but the sparseness gives the song a lovely Ariel Pink-esque guise.
Can’t get into this record, and I loved their last two albums. :(
It seems strange to me that Westing (By Musket And Sextant) would be included among a list of long-plays when its compilation record.