"The thing we can ask ourselves at some point is like: We’re making music for twenty years. In this scheme, Random Access Memories might as well be Scream 4. "In Scream 2, they have this discussion about how sequels always suck," Bangalter says. Only a handful of people have heard the album so far, but the two men already seem resigned to the possibility that no one will like it. More to the point, Random Access Memories is a calculated departure from past Daft Punk records, even for Daft Punk, a band that, over the course of its lengthy reign as the most well-known and critically revered dance-music act on the planet, has made a point of never making the same record twice. It sounds like it cost about a million dollars to make, if not more, an estimate they don’t deny but also won’t confirm. It’s got choirs and flutes and some of the same guys who played on Thriller and Off the Wall, and Panda Bear from Animal Collective, and Nile Rodgers from Chic, and a gang of other collaborators-Italian disco god Giorgio Moroder, "Rainbow Connection" guy Paul Williams, pianist Chilly Gonzales, house titan Todd Edwards, the Strokes’ Julian Casablancas, Pharrell Williams singing about sex and ancient Greek mythology. It’s a big and lush and opulent ’70s-disco record, glamorous in places and almost mournful in others, like something a heartbroken vacuum cleaner might drive around to at night in Detroit. The record is only Daft Punk’s fourth in sixteen years, not counting the soundtrack work they did on Disney’s 2010 sequel to Tron, and the first that the two men, who recorded their first three albums at home (two in Bangalter’s bedroom, one in his living room), have made in a proper studio. It’s called Random Access Memories-they whisper the title across the table, because it’s February and no one else knows this yet, and because with Daft Punk nearly everything is a secret.
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