Or, "How Daft Punk said goodbye eight years early"

The name ‘Daft Punk’ was inspired by a negative review of the band left in 1992, which described the duo as ‘daft punky thrash.’ Nowadays, critic Dave Jennings is the one who looks a fool; three years since their breakup, the pair have garnered 20 million monthly listeners on Spotify and sit comfortably as the face of all things house, dance and electronic in the public eye. Though many fans may point to 2001’s ‘Discovery’ as their magnum opus, the numbers would suggest that it was 2013’s ‘Random Access Memories’— the group’s final full-length LP— that captured the world’s attention like no other. After the record secured three Grammys, including the coveted Album of the Year award, and went number one in over 20 countries worldwide, one can’t help but wonder if this success was truly warranted, or if Daft Punk simply got lucky (see what I did there?). More than a decade later, the answer remains unchanged: ‘Random Access Memories’ is not only a wonderfully nostalgic and heartfelt love letter to all things music, but also the perfect sendoff to one of the most influential and important musical acts of the early 21st century.

Daft Punk have always been masters of the sampler, often taking records from the 70s and 80s and revitalising them in unexpected ways: take the duo’s iconic hit ‘One More Time’, for example, which samples a series of brass hits from Eddie Johns’ ‘More Spell On You’ and strings them together into a timeless disco classic. With this context in mind, ‘Give Life Back To Music’ may surprise many listeners as it jumpstarts ‘Random Access Memories’ with a combination of arena-rock guitars and live percussion. This more organic instrumentation is a huge departure for the robots— who had previously only toyed with less artificial elements on ‘Human After All’— and yet they’ve pulled it off without a hitch, and in the most Daft Punk way possible. Bringing in a plethora of legendary musicians including Nile Rodgers (Chic), John Robinson (Michael Jackson) and Nathan East (Fourplay), the robots planned to sample each player’s performance and arrange them independently, injecting a human touch into their style of producing. As Thomas Bangalter (the silver robot) explained in 2013, “we wanted to do what we used to do with machines and samplers, but with people.” ‘Give Life Back To Music’ provides a perfect example of this fusion between organic and artificial instrumentation as a Rodgers-led funk groove is supplemented by Daft Punk’s iconic vocoder vocals and a range of swirling synths. Rodgers’ guitar plays a key role throughout the album, often settling in amongst the robotics in a way that he himself described as ‘unbelievably natural;’ his catchy rhythms are given the spotlight towards the track’s end as the arrangement is slowly stripped back, and it’s hard to argue that his playing is not the most characterful and emotive element here. That’s not to discredit the group’s vocals, however, which are as distinct and polished as ever. Bangalter and Homem-Christo leave in just enough humanity to sell the track’s lyrics, with the pivotal line ‘let the music of your life give life back to music’ promising an exciting evolution for the pair as we move forward.

The following ‘The Game of Love’ subverts expectations with its slower tempo and more melancholic atmosphere, proving that even from the off, Daft Punk are unafraid to delve into all manner of moods and styles. Thematically, the song seems to allude to their classic hit ‘Digital Love’ with its whimsical refrains of ‘why don’t you play the game?’ being an obvious reference point here. This time, however, it seems the game has been lost as the robots lament how ‘it was you, the one that would be breaking my heart.’ These lyrics are delivered with a much more emotive edge, allowing more humanity and sorrow to bleed through the vocoder effect. Similarly, the track dials back on the funk guitars and electrifying bass lines, instead basing its somber groove around echoing synths and electric pianos. The mixture of humanity and robotics throughout the album is a constant source of intrigue, and this track benefits from it greatly as the sorrowful lead vocals feel increasingly isolated and vulnerable when surrounded by so many automated elements.

‘Giorgio by Moroder’ sits comfortably as the longest track on Random Access Memories, and that’s no accident— Giovanni Giorgio Moroder, often dubbed the ‘father of disco,’ opens the track recounting his time working on Donna Summers’ ‘I Remember Yesterday’ in 1977. His speeches throughout the track on creative freedom are touching and feel like a passing of the torch from one legendary producer to two others, giving the song an almost bittersweet feeling to it. The mood doesn’t last long, however, as Daft Punk quickly ramp up the opening disco groove into a driving synth melody ripped straight from their Tron Legacy soundtrack: between the passage’s infectious percussion, perfectly placed bass and distorted synth pallets, every element feels like a bridge between the dance floor hits of old and the sounds of the future. Giorgio tells the robots that ‘once you free your mind about the concept of harmony and of music being ‘correct,’ you can do whatever you want,’ and the robots appear to take this advice in their stride, immediately bringing in a host of divine string melodies courtesy of the 80-piece orchestra Daft Punk had access to. (As you might imagine, ‘Random Access Memories’ was not a record on a particularly tight budget, reportedly costing more than $1 million in total) By the end of ‘Giorgio by Moroder,’ the robots are throwing everything they’ve got at the listener- jazzy electric piano solos and a drop out to some excellent bass work are followed by a full-throttle race to the finish packed with ascending harmonies, Omar Hakim’s ferocious percussion and a host of record scratches and string elements. As everything gradually settles down until only a faint click track can be heard, the listener has time to reflect on the wild ride they’ve already taken— between the opener’s funky grooves, the somber musings of ‘The Game Of Love’ and now the orchestral odyssey of ‘Giorgio by Moroder,’ Daft Punk have done more in three tracks than some artists accomplish in a lifetime. The fact that they have so many more stories to tell as we press deeper into the record is what makes ‘Random Access Memories’ truly special.

​​​​​​​​​​​​​Demonstrating the album’s immaculate pacing, ‘Within’ is a more mellow and structurally digestible song on the record. Chilly Gonzales opens the track with a soulful piano interlude, setting up the track’s main melodies before shifting keys, allowing the robots’ iconic synths to take over and drive the track forward. The vocoder effects return here but are arguably even more emotive than those on ‘The Game of Love,’ allowing a hearty dose of melancholy to bleed through. Lyrically, our narrator is feeling lost, searching for their identity and soul among ‘many rooms to explore, but the doors look the same.’ These themes are much more personal and deep than you might expect from Daft Punk, who previously stuck to tracks about partying… and not much else. This evolution helps to carve out ‘Random Access Memories’ as a unique release for the robots, and one with many layers to unpack.

Julian Casablancas, best known as the vocalist of The Strokes, takes centre stage on ‘Instant Crush,’ although he may not be recognisable to some. In the process of the track’s production, Homem-Christo and Balgalter blend his iconic voice with more synth-like sounds, creating a voice that slowly morphs between human and industrial as the track progresses. ‘Instant Crush’ is one of the more well-known tracks from ‘Random Access Memories,’ centring itself around a memorable chord progression and classic four-on-the-floor drum beat that will get anyone’s head bobbing along. Combining these elements with the number of excellent melodies present throughout the track and the wickedly crunchy and tasteful guitar solo in the back end, the song has all the makings of an international sensation. This is only compounded by the lyrical themes concerning a whirlwind romance— a classic for pop music, which this cut certainly leans towards— although like so many elements of their sound, Daft Punk have approached the topic with a unique perspective. In the booth, Casablancas was asked to improvise many lyrics based on the song’s message and groove. As a result, the track’s lyrics are arguably more jumbled than others on the record— on the other hand, ‘Instant Crush’ succeeds in presenting a more honest and off-the-cuff perspective than previous songs, benefitting from the guest vocals immensely. Regardless of your stance, however, it’s assuredly a well-considered addition to the record, and a safe bet for any social gatherings.

Thus far, Daft Punk have been juggling some heavy lyrical themes as the pair appear to feel lost— after losing their game of love, taking advice from legends of the genre and feeling empty within themselves, the robots have set up a plethora of ideas to be explored. It’s quite refreshing, then, to see them lift the tone on ‘Lose Yourself To Dance,’ as Pharrell Williams assures them that ‘I know you don’t get a chance to take a break this often.’ Rodgers’ funk guitar returns in full force, driving the track into a steady disco beat, and Williams’ falsetto vocals are perfectly suited to the cut’s upbeat atmosphere (even if he claimed that David Bowie could easily have sung on the track). Speaking on the song, Thomas Bangalter said, “‘Lose Yourself To Dance’ is almost this idea of a timeless place or dance floor where you can lose yourself— the idea of unity on the dance floor, people being connected.” The track is certainly groovy, although it’s also emblematic of one of the main downfalls of ‘Random Access Memories’— the robots seem unwilling to cut down a large number of tracks, and many of them are needlessly overextended as a result. ‘Lose Yourself To Dance,’ as a prime example, is close to six minutes in length whereas a more reasonable four minute runtime would have suited it much better. This is, admittedly, a minor gripe with an otherwise fun track, but for all the orchestral flourishes and guest appearances throughout this LP, the album does border on self-indulgent a little too frequently.

In the lead up the the release of ‘Random Access Memories,’ Daft Punk described ‘Touch’ as the record’s heart— the core of the album, around which everything else is built. It’s an unusually abstract and hard-to-pin-down core if so, but upon reflection, this track becomes the key to understanding the entire record. After a genuinely harrowing intro featuring some off-putting vocal distortion and rising synth melodies, Paul Williams takes centre stage: his vocals are completely unfiltered, showing the most humanity and vulnerability of any performance across the album. His loose adaptation of the melody pulls at the listener’s heartstrings as his deft lyricism— such as the beautiful metaphor of ‘a tourist in a dream’— delves deeper into the themes of isolation and self-reflection, promising a resolution to the question, “where do I belong?” Before long, Daft Punk provide the answer via a mix of robotic and human choral vocals: ‘if love is the answer, you’re home.’ This ingenious lyrical progression ties up the ideas present in tracks such as ‘The Game of Love’ and ‘Within,’ setting the record on a much brighter path moving forward. Musically, the track is also something of a turning point for the LP, fusing the soft balladry and lush string and brass arrangements of tracks prior with the jazz influences and carefree atmospheres yet to come. ‘Touch’ is something of a bizarre track— Daft Punk have claimed it to be the most complex on the record— but ‘Random Access Memories’ would be nothing short of incomplete without it.

Now let’s be honest: you have, at some point, heard our next track. The album’s hit single, ‘Get Lucky’ became an international sensation, surpassing 1.5 billion streams of Spotify (between its single and album versions) as of time of writing. The formula for this kind of unimaginable success was simple for Daft Punk: combine Nile Rodgers’ guitar with Pharrell Williams’ vocals, and set them to one of the grooviest beats in the pop sphere. The chorus of this iconic track continues to ring out across nightclubs and social gatherings across the world, surpassing ‘One More Time’ as the track that people know Daft Punk for. As with some previous tracks, ‘Get Lucky’ is, admittedly, a little lengthy, surpassing six minutes. In response, fans might retort that it’s hard to care when the song is so endlessly catchy and upbeat. Lyrically, the track is your classic story of partying and romance— well within the wheelhouse of both the robots of Williams. As part of the album, however, ‘Get Lucky’ plays an important role in boldly proclaiming the record’s shift into its more celebratory second half. Gone are the introspective musings and ambient passages; Daft Punk attack the rest of the album with the confidence of a duo who know exactly who they are and exactly what they’re here to do, and that attitude is undeniably palpable on tracks such as this.

‘Beyond’ begins as a more orchestral outing, announcing itself via a series of ascending strings and thunderous percussion accents. This more bombastic introduction serves to reinforce the more self-assured feeling of the record’s second half, and the subsequent muted groove— complete with some excellent minimalist guitar and bass work— is much more welcoming as a result. Daft Punk have always been remarkable producers: a trip through their previous discography would tell you that, as would other tracks they’ve produced, such as ‘Starboy’ by The Weeknd. On ‘Random Access Memories,’ however, the duo have taken things to another level, and ‘Beyond’ is the perfect example of this. Balancing the layers of an 80-piece orchestra is challenge enough, but the robots bring out the full warmth and depth of every instrument, and the transition into a more familiar soundstage is buttery smooth. As the vocoder effects comes in, the song has several similarities to ‘The Game of Love,’ including its more mellow grooves and isolated vocals. The effect could not be more contrasting though, as the robots lay to rest any introspection or lingering doubt throughout this track via memorable lines such as ‘remember love’s our only mission— this is a journey of the soul.’ For the remainder of ‘Beyond,’ Daft Punk are deniably in their element, manipulating a catchy chord progression to fit a plethora of synth melodies and rhythmic changes. It’s another excellent track on its own, but this song shows how much the record’s narrative and framing can add to the experience.

If you thought that Daft Punk must have finally emptied their bag of tricks, think again: the robots throw in an instrumental track in ‘Motherboard,’ completely out of left field! The track kicks off on its central groove, panning synths in both ears and using percussion that sounds almost tribal between its syncopated rhythms and natural feeling. The real star, however, is the orchestra, which provides some gorgeous string swells and woodwind melodies that bring the track to the next level. The mood truly is serene, and the duo seem to be in complete control, even though the track is a radical departure from anything they’ve attempted on this record or albums prior. Most magical of all, however, is the sudden switch the track takes halfway through, interrupting its own calming atmosphere for a brief foray into horror movie music before more hopeful synth melodies fade back in. ‘Motherboard’ finishes by fading out into the sound of rain, leaving the listener in a surprisingly thoughtful mood for a track that asks no questions and provides no answers. It’s a respite from the grooves and the vocals, from the upbeat moods and the introspective passages, from the dance and the funk. Instead, ‘Motherboard’ is an experiment that’s obviously gone extremely well, ticking every box and providing yet more variety to an already compelling LP.

The final three tracks on Random Access Memories, beginning here, are where Daft Punk hint that this may be their last record. ‘Fragments of Time’ is a wonderfully upbeat song, but it’s also a song that keeps its eyes firmly on the past— musically, the track is an homage to the classic funk that inspired the robots back in the day between its retro synths and cheeky guitar progressions. For another callback, Todd Edwards provides vocals on the track— he had previously worked with the pair on fan-favourite ‘Face to Face’ back in 2001, and he fits in just as naturally 12 years later. Edwards also manages to use the track’s lyrics to usher in a sentimental and bittersweet mood, delivering lines such as ‘it’s crystal clear that I don’t want it to be end,’ and ‘since I can’t stay, I’ll just keep laying back.’ ‘Fragments of Time’ is an excellent groove, no doubt, but one can’t help but suspect that Daft Punk are playing with our heartstrings on this one. If they are, it’s certainly working, and it’s not going to stop anytime soon.

In all honesty, ‘Doin’ it Right’ is probably the weakest track on the entire record— its sluggish tempos and repetitive vocal passages make it somewhat of a chore to get through, and Panda Bear’s feature on the track is superfluous at best. The song is better recognised as part of Daft Punk’s final trilogy of tracks, however, where it represents the robots looking at the present. Their message is clear: making this music, working with these artists and doing it all how they want to do it was the right choice for the duo, and ‘everybody will be dancing’ as a result. ‘Doin’ it Right’ is, once again, not the most electrifying of tracks, but it’s an excellent bridge between the classic grooves of ‘Fragments of Time’ and the stunner of a closer Daft Punk are about to hit you with— brace yourselves!

As you may have guessed, ‘Contact’ is the sound of the future, in every way. The track opens with two samples: ‘We Ride Tonight’ by the Sherbs, and a recording of a transmission from Apollo 17 in which the astronauts describe being able to see a flashing light, somewhere out in space. (Looking like astronauts themselves, the clip is very appropriate for Daft Punk) From here, the track introduces synth arpeggios that accent its chord progression before it starts building… and building… and building, continually pushing an overdriven synth higher and higher as the drumming becomes more and more ferocious. Finally, the track climaxes at the five minute mark, dropping out to a soundscape of click tracks, feedback and industrial sounds that ends the entire record. The robots are unplugged, and the record has finally concluded.

‘Random Access Memories’ took home the coveted Album of the Year Grammy in 2014, and the win is rightly deserved. Across thirteen tracks, Thomas Balgalter and Guy-Manuel de Homem-Christo explore the depths of their catalogue, expand their sounds in every possible way and provide a fitting end to their discography. Between its funky grooves and mellow ballads, the album is a tour de force in songwriting, arrangement, production and innovation and remains one of the most polished and striking dance albums of the 2010s. Though it may be needlessly bloated and suffers from a single underwhelming track, it cannot be denied that ‘Random Access Memories’ is a fitting conclusion to Daft Punk’s story. The duo may have announced their retirement in 2021, but they said goodbye eight years early, in 2013.