![]() 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.” “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. The album’s move away from computerized sounds reflects Daft Punk’s “ambivalence” about the EDM craze they helped to inspire. “Electronic music right now is in its comfort zone and it’s not moving one inch,” Thomas says. They looked at each other and they were like, We’ll be in touch.” Pharrell wound up singing on “Get Lucky” and a stomping disco track called “Lose Yourself to Dance.” I said, Whatever you do, call me – I’ll play tambourine on it. Pharrell, Julian Casablancas, Giorgio Moroder, and Animal Collective’s Panda Bear are among the guest vocalists. ”We were at a party for Madonna’s last album,” Pharrell recalls, “and I was like, You guys should have produced this! Why did that not happen? Madonna and the robots would have been unbelievable! They were like, We’re working on something. ![]() “And all these guys were tripping on meeting again and playing together again.” He adds: “It’s not that we can’t make crazy futuristic sounding stuff, but we wanted to play with the past.” “The Seventies and the Eighties are the tastiest era for us,” Guy-Manuel says. Chic mastermind Nile Rodgers played rhythm guitar on a few tracks. For Random Access Memories, they hired “top-notch session players,” says Guy-Manuel, with credits on classic records by Michael Jackson, Herbie Hancock, and Eric Clapton. …and their endless fascination with the past. 2001’s Discovery was in part a backward-looking concept album about revisiting the funk, disco and soft-rock of Thomas’ and Guy-Manuel’s childhood. The title captures the duo’s endless fascination with blurs between humans and technology…“We were drawing a parallel between the brain and the hard drive – the random way that memories are stored,” says Thomas. “Here, we were trying to make robotic voices sound the most human they’ve ever sounded, in terms of expressivity and emotion.” “There’s this thing today where the recorded human voice is processed to try to feel robotic,” Thomas says, referring to the undying AutoTune vogue. The only electronics come in the form of a massive, custom-built modular synthesizer that Daft Punk played live on the album, they told me, and an arsenal of vintage vocoders on which they manually manipulated factors like pitch, vibrato and legato. Eventually, a new approach emerged: “We wanted to do what we used to do with machines and samplers,” he explains, “but with people.” Except for a snippet of “an Australian rock record” that opens the final track, “Contact,” Daft Punk foreswore samples entirely, and they limited the role of drum machines to just two of the album’s thirteen tracks. ![]() The duo were dissatisfied with early demos that leaned heavily on electronic equipment, feeling like they were operating on “autopilot,” Thomas says. They began working on Random Access Memories in 2008, in Paris, with no clear plan. “After three records, there was a sense of searching for a record we hadn’t done,” Thomas says. Random Access Memories arrives on May 21, 2013. Here are the ten things you need to know: Rolling Stone recently did a profile on Daft Punk, where they discussed the inception of the new album in extensive detail at their studio in Paris. Daft Punk’s long overdue Album Random Access Memories is easily one of 2013′s most anticipated releases.
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