The not-yet-released new Daft Punk album is currently streaming through my headphones. I began listening on my internal laptop speakers, but that’s no way to treat this band; especially when we’re dealing with their first studio offering in over five years.
The album opens with the John Williams-esuqe Overture – a vast expansive piece that fits perfectly in a soundtrack. It’s great, but puzzling, because it’s not Daft Punk at all. And then we are thrust into The Grid, where we get the synthesizers on top of the original piece of the first track, with (what seems to be) Jeff Bridges speaking over it. Here we have the classical soundtrack sound meets the Daft Punk sound.
And that is what this album is. It has the strings, but also the synths. It’s like a futuristic symphony; like what Wyld Stallyns’ music would have sounded like if they played synthesizers instead of electric guitars. It’s haunting and beautiful at the same time.
Obviously, hard core Daft Punk fans will look at this as a populist album; one created for the masses, and they’ll be, quite literally, correct. But what I see here is more than that. What I see is that this duo of musicians aren’t just great with synthesizers and at creating house music. These are real composers, capable of creating music that both combines and defies genre.
This may not be their best album; it’s certainly not my favorite of theirs. But it shows an expansive musical pallet, and a truly impressive one. And in the end of the day, while this is an artistic piece on its own, it’s also the music that was written to accompany the movie. Only hearing the songs is only getting half the experience. Considering how great it already sounds, we’re going to be in for a treat.
Daft Punk – Recognizer
Daft Punk – Fall