May 19, 2013
You may remember me contributing to Electronic Magazine for Future Publishing a while back. I probably ought to tell you where that led to.
I'm now a columnist for Electronic Sound. The mag for Future seemed to do quite well, but I'm probably not alone in thinking there's not an easy, er, future for niche print magazines unless they're about guitars or gaming. So the team behind the original print magazine have gone independent to launch issue one of Electronic Sound for the iPad.
My column is a hilarious take on the Performing Rights Society: not exactly a minefield of comedy, but honestly, it's gigglesome. The app also has a picture of a synth with utterly ridiculous tags puked from my stupid brain (pictured above: the circles link to my nonsense), while I've thrown in some album reviews for good measure.
Issue one also includes OMD, Dave Clarke, Billie Ray Martin, Gary Numan, Utah flipping Saints and that bloke from the Human League. James Blake and Autechre are among the reviews.
I think you can just about still get issue one for the introductory price of 61p, although you'll have to be quick. The second edition is about to land, and this time I'm banging on about Daft Punk, The Black Dog, Juan Atkins and what all the numbers mean on the labels on records (note: possibly not accurate).
Sorry that you can't get it if you're not an Apple addict, but this has been put together by some amazing people on limited resources. First stop, the iPad. Next stop, forehead projection implants where you scroll to the next article by blinking or clenching your buttocks.
If you have an iPad and a vague interest in things that go bleep, you love me enough to get this, right? Beats blimmin' pretend air hockey.
Read more on: electronic sound
May 14, 2013
There are parts of Daft Punk's new album Random Access Memories I want to store in my RAM forever... but this is only part of the story.
Let's get some context. For a band that has only released three albums, Daft Punk's effect on dance music has been stratosflippingpheric. Every French house band from Cassius to Letherette gets a Daft comparison.
However their output over time, as they've moved from Revolution 909 to Aerodynamic to Robot Rock, has lost traction. You could argue their nadir was the Tron Legacy soundtrack, and even though the album itself it's much better than you think it is, the movie did translate as some kind of weird Bangalter-Christo vanity project.
The problem with Daft Punk releasing a new studio album after all this time is the Justice Imperative. The Justice Imperative is where a great Parisian electronic music act - let's for argument's sake say, er, Justice - feels the need to fall so in love with their own arse, they prog themselves until they disappear completely. Except it's not prog: it's more "The Who teaming up with David Guetta". Have Daft Punk fallen into the Justice trap?
Tragically, yes. At least, to some extent.
The clue is in the epic riff that opens Give Back to Music. The riff disappears quickly and we're into a disco jangle ripped straight from Get Lucky, which is also here in (thankfully) extended form. But remember that opening few seconds. It will return.
Let's start with the positive. Doin' It Right featuring Panda Bear is exactly what you'd want a DP / Animal Collective collaboration to sound like and it's brilliant. Slow, teasing, melodic and glorious. Lose Yourself In Dance is utter disco singalong, lifted by Pharrell Williams's vocals against the robots' cheerleading him with "come on, come on".
Giorgio By Moroder starts, literally incredibly, with Moroder himself waffling at length about singing in discotheques and his lovely Moogs before launching into a spiralling, string-laden emotive nine minutes - a theme which is, incidentally, revisted on final track Contact. They spoil Moroder though with a bit of jazz noodling, but the track is pulled back with hi-hat-abusing live drumming that rises into a distorted acid shred climax.
The rest of the album is either bold experimentation or .. well...
Touch is bonkers. We find ourselves in a Doctor Who horror hell, which then inexplicably morphs into Michael Ball in Phantom-mode, sinister strings and oodles of expansive trip hop. Vocals are by Paul Williams, who wrote the Muppets' Rainbow Connection, and that kind of makes sense and it's kind of brilliant or, more worryingly, it's something else. Parts of this track can be coupled thematically with Motherboard, which comes across as an ambient rhythmic UNKLE, its arpeggios the only clue as to it being Daft Punk track.
And now the rest. The horrible, horrible rest.
It's either bold experimentation or... this. That's what the opening riff alluded too. You're expecting 80s hair and flares and anything but a touch of Sade or Warren G, but there it is on Beyond which g-funks it up so much it's almost a total steal of Michael McDonald's I Keep Forgettin'. And The Game Of Love's guitar harmonic MOR barely sticks its head above 90bpm and it is smooth. Not just smooth, but Sade-smooth. We're talking Smooth Operator smooth. Okay, let's cut the crap: it's basically Smooth Operator.
Instant Crush, an obvious single, could be an Avril Lavigne track when it starts out but it gives in to Europop territory with light Royksopp or Mew vocals. Utter cheese... but they've softened us up with Get Lucky, so it's less of a shock. Still. This is Daft Punk and they've lost da funk.
Fragments of Time is awful MOR pop - Todd Edwards should stay on the other side of the microphone - and the line on ballad Within which says "there are so many things that I don't understand" will seep into your subconscious all track long until you are diving for Teachers (the track and the drink) to make everything okay again.
On Random Access Memories, the experimentation is sometimes brilliant, but it is all-too-often the sound of a band losing their confidence and losing their sound. There are parts of Daft Punk's new album I want to store in my RAM forever and some parts I'm going to need an anti-virus programme to purge.
There is enough here to make this their biggest album to date. They've gained traction again - but at what cost?
Further Fats: Please spell Freeland versus Daft Punk. "OBAMA." (2009)
Read more on: daft punk