Random Access Emotions: Frequency Domain Expands

An interlude about Daft Punk’s Random Access Memories.

Travelling to my in-laws’ last weekend, still buzzing slightly from inadvertently having driven at 110MPH when my MP3 player proffered Debaser, I switched to my current album of the moment, Daft Punk’s Random Access Memories. Before long, my girlfriend – very often an opposite to me in terms of music tastes – asserted that she didn’t really like the record, claiming its beyond-polished production, abstracted and cyclic lyrics and propensity for vocoded vocals robbed of it emotional impact. Startled, for I was at that very moment deep in the midst of a highly emotional response to the strutting disco breakdown in the middle of track six (and my favourite), the undulating, unpredictable, bittersweet, all-music-at-once Touch, I briefly struggled for words.

Eventually, in some distress, I managed to offer that the multi-layered electronica and counter-intuitively switching instrumentation created ‘a sort of soaring sensation’ in me, of the kind I experienced in the days when I would find myself in a club at silly o’clock, inexpertly but helplessly throwing myself about to whatever was playing, a delirious slave to the rhythm.

I was troubled that I couldn’t better explain what the right music, including most of the, to me, highly emotive Random Access Memories, did to me, and how surprised I was that it wouldn’t affect someone else similarly. I should have had at least some words for it. Some writer, huh? Turned out that where we’re going, we don’t need words. Currently free, generative music game Frequency Domain has already said everything I needed to say about Touch.

Yes. Soaring. Every regret and every hope.

Nathan already posted about Audiosurf-without-the-match-3-thing-or-indeed-the-track music game experiment Frequency Domain earlier this month, but the trailer he posted then (repeated above), naughtily featuring impossible digital landscapes created in response to the reflective epic that is Touch, also inspired great sadness as the provided build of the game did not include or properly support that, or any of Random Access Memories. The latest public build of the game, in addition to the rather important new feature of being able to load any MP3 file, now includes special parameters for several Daft Punk files, which enables you to see what dev Sagar Patel specifically designed for those songs, rather than just the random levels. Because, unlike AudioSurf, the intent of Frequency Domain is much more about crafting the best experience for beloved music, both on the dev’s part and ultimately by players too.

The game’s trying out a new look too, as demonstrated in accompaniment to another of Random Access Memories’ highlights, Contact:

Didn’t find that quite as effective as the Touch one, but I do like the Ikaruga effect.

Patel describes v0.5, available now, as:

“A massive update. I’ve basically got the “Play Create Share” loop implemented. This means:

– You can load any song you want (currently only supporting mp3 files)
– You can edit/customize the track using the in-game editor
– You can save/load these customized parameters (exported as a tiny .txt file)”

Here’s another vid, of the editor in action:

And finally, because if I’m posting tracks from Random Access Memories I couldn’t not include this one, here’s an earlier build playing Giorgio By Moroder (which I like to call ‘A Brief History Of Pop Music Happening Simultaneously’):

But is it a game? Oh, piss off.

A coda about Daft Punk’s Random Access Memories. If you’re going to listen to it, please do it with at least reasonable speakers or headphones, and not with low bitrate files. Honestly, I don’t want to sound like a Q reader, but it’s very much an album about sounds and if you’re playing it on kit that can’t really replicate those sounds, you can’t tell what the record’s trying to do.


  1. Pich says:

    Aww, most of my stuff is in FLAC :( i hope they support it soon

  2. MuscleHorse says:

    I’m afraid your girlfriend is right – awesome production, lacking in anything else.

    HOWEVER, you enjoy it and that’s all that matters. Afterwards, give Holiday by the Magnetic Fields a go if you’re still in the mood for emotional electronica.

    On subject: downloading this now as it looks a reet laff.

    • Alec Meer says:

      It isn’t “lacking in anything else” though – you just don’t hear/feel it, for whatever deep-down difference of the brain is at play here.

      • c-Row says:

        Maybe you are just easily impressed, who knows?

      • Prolar Bear says:

        Look, Meer, I love you and all but I have to agree with your better half as well.
        Random Access Memories is, in my humble opinion, a very shallow album based on disco clichès that recycles the same four chords for the length of the album. The lyrics are trivial (although that might be worthy of a more lengthy discussion) and the music doesn’t expand on the 70s sound, it just takes those retro elements without adding anything new.

        • Alec Meer says:

          That is indeed your opinion.

          • Prolar Bear says:

            I’m not trying to undermine the reaction you had to the album (hell, I’d be a nazi), I just think that the album is fairly shallow, that’s all. But chord progressions are not an opinion.

            PS: I still love you
            PPS: I’m not your girlfriend

        • frightlever says:

          All music is trivial. Context is everything.

        • Zyx says:

          If you didn’t like the music, that’s perfectly fine, but what I don’t understand (I say this with polite curiosity), is your reasoning. I KNEW they were repetitive, cyclical chord progressions, designed to be more catchy than substantial, and downright cheesy lyrics. I thought the point was that Daft Punk STILL managed to make it beautiful somehow.

          Let’s talk about, say, ‘Touch’ for a second. When I heard the lines ‘almost convinced me I’m real’ for the first time I laughed so hard I had tears coming to my eyes, and my mind just went, ‘oh… surely he’s melodramatic on purpose, but this is obviously not satire,’ and then ‘WHAT is HAPPENING here how is this music working?!’

          Yeah, as long as we’re revealing opinions others may not understand here, mine is this: Random Access Memories was baffling, cheesy, simple, and bloody beautiful, and some of the best music I heard this year.

          Of course, I liked it first and THEN rationalized, but you get the point. :)

          • Aardvarkk says:

            When I first heard Touch I thought of an android, maybe like the Nexus series from Blade Runner who have someone else’s memories imprinted in them and the song was their story of them wanting to feel emotion, sort of like Pinocchio.

        • Urthman says:

          Any opinion about music that complains about the number of chord progressions a song has is an opinion that so divorced from what I care about in music as to be useless.

          • Prolar Bear says:

            @Urthman: maybe my sentence wasn’t clear. I wasn’t talking about the number of chord progressions, I was saying that the chord progression found in Get Lucky can be found, slightly modified, in many other songs of the album. Which is to say that some songs sound indeed quite similar.

            @Zyx: yeah, I understand what you mean! I have to admit that I’ve been a bit aggressive on the album because I’ve seen it being hailed as revolutionary and a masterpiece. For the reasons I’ve stated above, I instead think it’s a mediocre album (not a terrible one), just not innovative at all (especially considering the budget they had).
            I think the “cheesy but beautiful” argument can’t really be made by a music critic, because “beautiful” seems to be a subjective thing. Meanwhile I had the opposite process: I listened to it, disliked it, listened to it again, drawn my conclusions. ^^

      • Nicodemus Rexx says:

        I’m going to own up to being a jerk and momentarily derail the conversation by asking you (Alec) what your opinion of the “Human After All” (album) was.

        Of all their albums its the one I most connected with, getting me through some rough times in High School, however I was given the impression through some reading that most people just sort of wrote it off as “An interesting ‘experiment'” and/or “Not as good as Discovery.”

    • FFabian says:

      I love the album except Track 3: Would this Giorgio guy plz shut up and get his awkward life story out of my music?!?!

    • Dances to Podcasts says:

      Another vote for the better half. As Tricky would say, Brand new? You’re retro.

    • Vartarok says:

      Well, I, for one, can say I’m extremely glad this site appreciates what I think it’s one of the best pop albums in the last, at least, five years; and that they appreciate it to the point of talking about it even though this is a videogame dedicated website.

      Keep up the good work, guys!

  3. golem09 says:

    I hate it when people only want some superficial emotional response and don’t even try to appreciate a carefully constrctued imaginative piece of work (some might call art).
    Then again I do spent time listening to 70s prog rock with full concentration, maybe I’m too much of the other extreme.

    • c-Row says:

      I hate it when people only want some superficial emotional response and don’t even try to appreciate a carefully constrctued imaginative piece of work (some might call art).

      I love a carefully constructed imaginative piece of work, but RAM did nothing for me.

    • Niko says:

      As I imagine, originally disco was quite far from prog rock in terms of careful constructed-ness.

  4. Palimpsest says:

    I thought every discerning person agreed that, barring Touch, RAM was Daft Punk’s sell-out record…

    • Alec Meer says:

      No, that’s the opinion of every undiscerning person.

      • Palimpsest says:

        Ah well, I suppose you’ve got to at least respect something that provokes such a varied response from the discerning amongst us.

    • RedViv says:

      If everybody expecting something classically awesome, something great and revolutionary, but then merely getting a nice and good homage to ages past, is now “selling out”… Well, I guess than that is at least, finally, a worse interpretation of these words than the usual “omg how DARE they make money!” use of that phrase.

  5. Mctittles says:

    The only Daft Punk I regularly listen to is the Tron soundtrack. For Daft Punk fans, is this similar to RAM (in being shallow) as I don’t really know their other stuff too well.

    • c-Row says:

      Tron Legacy bares no similarities with any other Daft Punk album, so it’s hard to tell. For a good sample of their works you might want to check out their “Alive 2007” live album and hear for yourself.

  6. amateurviking says:

    Well I don’t know about Daft Punk, but I suspect the Pixies are in the immediate future for my earholes.

  7. Alec Meer says:

    L’esprit de l’escalier: if this album is vapid or boring or sell-out or all the other charges those unmoved by it make, why would it be the choice of a game that’s essentially about synaesthesia?

    Fair play if one doesn’t like the record, but I’d hope that those who feel that way could at least reflect on what is motivating others to feel so affected by it, rather than simply dismissing it.

    • c-Row says:

      Only if you try and reflect on why we dismiss it. Deal?

      • SanguineAngel says:

        I think there may be more merit in attempting to appreciate something you had previously dismissed rather than looking to undermine that which brings you joy.

        • c-Row says:

          Without question, but both is crucial for each side to understand where the other is coming from. There are some albums in my collection I absolutely love, but I see how and why they aren’t releases I would recommend to some friends of mine, yet that doesn’t diminish the joy I get from listening to them.

      • Urthman says:

        It’s possible to hear something you previously missed in music and say, “Oh, that’s better than I thought.”

        It’s almost never possible to hear something good in music and then later say, “Oh, I guess I didn’t really hear that after all.” (Which is not the same as changing your opinion about whether or not you like the thing you heard.)

        • c-Row says:

          It’s not about ‘unhearing’ something, it’s about ‘If you think about it, maybe you can understand why I love this so much while I totally ignore that your opinion is equally valid but I don’t care about it because you are wrong’.

    • Palimpsest says:

      Appealing to a mass audience perhaps? Again, Touch is a wonderful track, but there have been better and more suitable electronic albums even in the past few months.

      • SpaceTapir says:

        I’m curious to hear what people are proposing as better albums.

        • c-Row says:

          Lulu Rouge “The Song Is In The Drum”

          Skeewiff “Man Turns Animal (For The Erotic Pleasures Of Women… And Men!)”

        • Palimpsest says:

          DJ Koze
          Boards of Canada
          Mount Kimbie

          • SpaceTapir says:

            Koze’s Amygdala is great. Haven’t heard the new Boards of Canada yet but I am very much looking forward to a first listen.

          • SpaceTapir says:

            Would add though that those albums are not in the same genre as RAM which is a clearly inspired by italo disco (and just plain disco too), not techno (like Koze or Boards). I wonder if some of the unwillingness to get into RAM is from the lingering sense that disco is not “serious”—that’s it is instead shallow and commercial. As Alec says, these songs have huge emotional force and gorgeous production. Can’t that be enough sometimes?

          • Palimpsest says:

            Maybe so

          • Dances to Podcasts says:

            Would Lovelock or Kavinsky count, then?

          • Prolar Bear says:

            Jon Hopkins!

            Also, saying that an album is great because of production and emotional force is pretty much the same thing as saying that CoD is a gaming masterpiece because of the emotional force (US gets invaded or whatever) and slick production. Again, I’m not bashing people for liking RAM, but I think this is a case of double standards.

          • SpaceTapir says:

            Ha, touche. I can accept that point.

          • Prolar Bear says:

            Okay, now let’s all have a beer, it’s on me!

    • Nerocyne says:

      Mixed feelings on this album.
      On one hand, I very much agree that many of their tracks are indeed great; yet I still think the leap between the last substantial thing they did (Read: TRON not counting) to this was too great. Furthermore, I did find the likes of Touch and RAM greatly enjoyable, yet I feel Daft Punk themselves allowed others to interfere too much with their style. Indeed, the synth playing towards the end of Giorgio de Morodo (Apologies if misspelled) faltered as a result of a mass of drums and insufficiently completing the synth!

  8. Tinotoin says:

    I feel that Homework is Daft Punk’s shining moment, everything since then just didn’t match up to the heady standards I attributed to that album.

    Nothing wrong with changing direction musically, I was just disappointed they moved in a different direction than I’d hoped.

    • Rikard Peterson says:

      I really like Around the World and Da Funk on the Homeworld album. They’re funky and have a nice groove. But I find most of what I’ve heard of Daft Punk to be a bit boring. (I own the Homeworld album.) Any recommendations?

      (I also had a bit of fun with Around the World and recorded this a while back. Quite unpolished, but fun. I play all the instruments myself.)

  9. Col says:

    I have nothing else to say apart from the fact that Alec is right, RAM is an excellent album. Anyone who disagrees ought to be banned from posting on RPS forever.

    The best track is “Doin’ Right”, though, obviously.

  10. Pich says:

    RAM is good, but several better records came out this year.

    • SpaceTapir says:

      It’s a matter of opinion. There are always better records.

  11. JackShandy says:

    Seems like everyone’s treating this like an objective thing, like there’s some argument that will make people go “Oh! You’re right, it’s actually brilliant/awful.”

    Is it like that? Or is it a private, subjective emotional response? Can you give the emotional experience you got from RAM to someone else, or is it a personal thing born from memories of your club days?*

    I don’t expect anyone else to feel anything when they stand in my childhood playground.

    *Honest question, I don’t know nothin about music.

    • Palimpsest says:

      Nicely put

    • Dances to Podcasts says:

      The (well, one) problem with that is that it tends to shut down discussion altogether.

      • SanguineAngel says:

        I don’t know about that – i think people could easily have a discussion about the things they like and do not like about creative works without straying into devaluing the other’s opinion territory

        • KingFunk says:

          What utter nonsense! I utterly disagree and so your opinion on this matter is invalid!


    • Professor Paul1290 says:

      Judging of any creative or artistic work tends to end up being that way.

      People often do try to find some kind of underlying objective quality even if the works in question just don’t work that way in practice. People do have a tendency to try to find meaning in things even if it might not be there.
      (I guess you can draw comparisons between this and how religion often works, but that opens a whole other can of worms.)

      The closest things you can have to values you can measure objectively with this sort of thing (and even these often barely qualify as such) is whether you like it personally or not and how popular it is.

      Obviously the universe doesn’t give a damn. To use an extreme example, if you wanted to be really objective the only difference between the “greatest works of music” and tracks of people farting into jars is the value people give to the former.
      Heck, if for some reason people suddenly valued the sounds of people farting into jars as works of music then for most intents and purposes they would be music, and their musical value would be arguably just as real as the value we apply to what we consider music!

      That’s not to say that music is trivial or meaningless, of course. People enjoy music and that by itself already has “meaning” to it. People have different tastes in music and different piece of music have different characteristics, so even when viewing music in the way described above you have plenty of discussion about music regardless.

      For some people that value and meaning alone makes their enjoyment of what they like a little too “empty”, so they try to find values in there and/or make them up. The funny thing with that is, if enough people believe in those values, they’re arguably just as real as their/your enjoyment of the music and in the same way they arguably have meaning!
      It’s just when you start calling such values “objective” that you start getting misleading about it.

      • Palimpsest says:

        Hilariously inevitable that this comment thread would end up on this discussion

    • vivlo says:

      there could be interest in those kind of arguments ; in that you can be led to discover new musics that are actually better than the one you thought was good, and it all of a sudden seems shallow in comparison. You then lost nothing, because you feel more things in the newly discovered music. One will maybe argue that there’s no such thign as “better” music – i would – but you somehow can judge a work of art by the level of dedication/purity/success it reaches in achieving its own goals. Also some music are more available worldwide and more easy to discover, hence a sort of duty to rebalance things by talking about comparable music that are less widely known.

  12. KingFunk says:

    I haven’t got or heard the album but I feel the need/right to impart the following opinion based on that single (you know the one):

    Daft Punk and Nile Rodgers have both produced far superior works in the past, to the point that this song borders on self-parody. That said, it does have a nice counterpoint in the vocal melody from whatsisface, with whose other work I am unfamiliar. And I’ll admit, the song is damn catchy, has mass appeal and will/already has presumably made loads of cash. And maybe that’s the point – there reaches a time in life for all but the most die hard ‘artist’ or iconoclast when the money is much more useful than the respect of enthusiasts like me who can tell who’s funkin’ and who’s fakin’

    • Alec Meer says:

      You should listen to any of the three other tracks embedded in this very post. ‘Old man mutters about the history of disco’, for instance, ain’t exactly raw commercialism.

      • KingFunk says:

        Fair enough – I might just do that when I get back to The Mothership on Friday. Although I might be wearing my ‘I Feel Love’ pants when I do – Giorgio Moroder will be judged against his former glory too!

        For other legends doing monologues over music by artists who aren’t quite as good as they used to be, may I suggest Bootsy Collins – After These Messages (feat. Samuel L. Jackson):

      • Prolar Bear says:

        I listened several times to the whole of RAM just to see what the fuss was all about.

      • Drakedude says:

        Edited for clarity

        I’ve listened to the album, liked it whilst being by no means a connoisseur, but I’m afraid that rockpapershotgun’s mildly socialist record insofar as that’s possible whilst being a website about games, will suffer if you expect me to give Daft Punk anything more then the benefit of the doubt. “The death of the author” is not relevant when the author is not in fact dead. The same goes for at a guess most going on about sellout’s in contrast to some pinnacle they vindicate. There’s a limit to how much i care about the artistic merit when your tokens of appreciation are being put to unclear and uncomplimentary use. As for those wondering why i bother reading this site, games aren’t entirely without merit, if not perhaps worth 100’s within a single steam library.

        • KingFunk says:

          Um, not quite sure of the point you’re making or who it was being made at…

          • Drakedude says:

            The point being, i care more about what they’re doing with the money then the quality of their music, and given the deliberate ambiguity of the former (and on balance, unlikeliness of good use) i could care less about whether they’re “sellouts” or musical genius’s. Down with this sort of thing, etc. I would appreciate questioning the level of investment in games, consumer and creator, far more then a better-then-usual (and this is in no small part because of the song Crescendolls) pair of artists.

        • Eddy9000 says:

          “The death of the author” is not relevant when the author is not in fact dead”

          It is entirely relevant, you have absolutely no understanding of what Barthes meant by this statement.

          • Drakedude says:

            I’m not arguing about the content, I’m arguing about what the success of the album by their rosy eyed fans is allowing them to do. I was trying to head off the misuse of the selfsame argument you mentioned

          • BenAttenborough says:

            Indeed, Roland Barthes was actually saying that the author’s intentions are not relevant to how we experiences or interpret a work. It freed up academics to stop worrying about what an author really meant to say and gave a text the freedom to be interpreted openly. While most academics do not go to such extremes as to ignore the context of a work of art entirely, most still benefit from this liberating philosophy and are no longer bound by a strict idea of what a text “really means.” That includes living and dead authors and is not limited to texts but all forms of art.

          • Drakedude says:

            Why yes, and thank you for giving such a succinct explanation, but it wasn’t what i was discussing.

    • Palimpsest says:

      Exactly, they’ve enjoyed respect and dignity for long enough – time to make some serious fucking money. I never thought I’d hate a Daft Punk track until Get Lucky.

  13. Squirrelfanatic says:

    I like RAM. Furthermore, I don’t know a) anything about this kind of music or b) any other album of Daft Punk as a whole. But I like RAM. :3

  14. Buttless Boy says:

    Alec, I’m curious if the emotional reaction you’re experiencing is tied more to sensory stuff than anything inherently emotional about the music or lyrics. I’m thinking what your girlfriend describes is a lack of the kind of emotional contact you get from something shouty or weepy or whatever. Electronic music tends to sound less emotionally genuine to some people because of the lack of analog instruments and the synthesized voices, although I’d argue it can be just as resonant as any blues or country. Or country, anyway.

    Not a big Daft Punk fan though, so maybe I’m just missing something about the music.

  15. Memphis-Ahn says:

    I rarely agree with Alec Meer when it comes to things related to opinion (and even things not) but I have to admit I agree with his thoughts on RAM.

  16. mineshaft says:

    for better or worse, RAM will always be judged against the backdrop of two other records that came out the same week:

    Trouble Will Find Me, by The National
    Modern Vampires of the City, by Vampire Weekend

    For me I’m afraid the Daft Punk comes in 3rd place. I like me a concept album but I feel like I got a lot more bang for the buck out of the other albums.

    If we’re talking about ear candy and audiophilia, I’d go with Amok this year. Although I understand that could leave some even colder than RAM.

  17. outtathaway says:

    It always disappoints me to see/hear non-musicologists trashing music they don’t comprehend.

    • c-Row says:

      Trashing music isn’t necessarily a matter of “not getting it”, you know?

    • KingFunk says:

      So you’re saying that without the necessary expertise in musical theory or a lengthy study of musical forms and their use means that you can’t dislike something?

      This is disingenuous, I’d say and your argument is perhaps akin to claiming that Sigur Ros are on the compositional level of, say, Stravinsky because you like them. I have some knowledge of musical theory and I have spent much time studying the music I like/dislike and why I feel that way and my opinion is that Get Lucky just doesn’t cut it for me.

      Funk music, which this song aims to be, is dependent on syncopation and polyrhythms, multiple voices and the cohesion of disparate elements into a grooving whole. Get Lucky merely appropriates the obvious trappings of funk and uses them as a glossy veneer – all sequins, no gutbucket. Will this do for trashing?

      • Prolar Bear says:

        Absolutely agreed. I don’t really dig funk or disco, but the originals are much more detailed in terms of composition.

      • Dances to Podcasts says:

        (I suspect the reason he didn’t actually substantiate his point might be that he’s not actually a musicologist…)

  18. Premium User Badge

    Hodge says:

    I haven’t given RAM a proper listen yet so I don’t really have an opinion either way, but it’s interesting that by sinking five years and over a million dollars into making exactly the album they wanted to make (even though they knew it would alienate their existing fanbase) they’ve attracted cries of ‘sellout’.

    Presumably if they’d just spent three weeks knocking out a facsimile of Discovery at home on their laptops and then sold it for the same price then that would be like, true artistic integrity, man.

    • KingFunk says:

      I might not like what they’re doing nowadays and I might accuse them of targeting the masses, but selling out is quite hard when you haven’t adopted a particular standpoint. Unless I’m much mistaken, their only standpoint was to put out records that people danced to, which they have succeeded in. I’m just no longer dancing (except after a tequila or two when I’m anybody’s!)

      • Drakedude says:

        Incidentally, what does “sellout” practically mean? You’ve made slightly more money then the wealthy or by no means impoverished bands i listen to? Not that i appreciate any of the above.

        • Dances to Podcasts says:

          Selling out doesn’t mean making more money than others. You can be commercially successful and not ‘sell out’. Selling out means that you compromise your artistic quality in order to become successful. It means that you try to make your work appeal to more people at the cost of its artistic quality.

    • darkChozo says:

      I’ve listened to RAM exactly once and have very little opinion on it, but I find it very interesting that Daft Punk is selling out now, when their last album was a soundtrack to a big budget Hollywood movie (which I actually quite liked, but I digress). I mean, I realize and/or am of the opinion that “selling out” tends to be “I don’t like this” wrapped in an accusation of impropriety, but seriously, it’s something of an obvious comparison to make.

    • The First Door says:

      That’s exactly what I was thinking, only put much better than I could have managed!

      I always wonder about the correlation between the term ‘sell out’ and the thought ‘other people have heard of them so it is uncool to like them now’.

  19. Gravious says:

    Reading this article, that could be the exchange between me and my girlfriend.

    Alec, i never thought i’d see someone else just reach into my mind and pluck out my thoughts, but you’ve summed up my feelings for RAM as well as i ever could.

    Its a piece of art, a seriously powerful emotive experience that i find hard to explain, but it contains such warmth and soul that i feel better for having it in the world.

    An instant classic, though apparently massively divisive.. :-/

  20. MarkB says:

    I got a kick out of the coda. You know someone really likes an album when they ask you to make sure you are using proper headphones or speakers if you are going to listen to it.

    I don’t get the hate for RAM, it’s not my album of the year or anything but I thought it was pretty darn good. I bet it’s a great driving album. I think putting it on right after the Pixies might have been a mistake though, most music would seem overproduced and underwhelming when it’s following Debaser.

  21. boss1001@gmail.com says:

    I really don’t think we’re all going to hash out the fine line between the objective and subjective qualities of music in these comments…

    Though, for the record, I really liked RAM. Discovery still wins to me, but that’s tough to beat. I wasn’t in-touch with “Touch” as much as Contact, or Giorgio, though. People telling the old man to shut up don’t know much about the genre or the importance of instrumentation in that song.

    With regards to Frequency Domain, I hope more keeps getting added to the game. I enjoy looking at or using data in new and different ways, and a not-Audiosurf could be fun. Plus, my inner DSP (digital signal processing) loves the fact that an experience in being created from what is effectively a spectrogram.

  22. SkittleDiddler says:

    Anything that (to my ears) strains so hard to mimic a musical genre that wasn’t even respected back in its heyday leaves me scratching my head. I’ve never understood the appeal of Daft Punk or electronica in general, so I guess I’m in no position to judge others for their own tastes. I can see how that kind of music would work in Audiosurf, though.

    Now, on to some Pixies as others here have suggested, followed by a bit of Dillinger Escape Plan’s new album to completely wipe the thought of electrodisco from my poor brain.

  23. derbefrier says:

    As someone who generally hates all things techno. I do like Daft Punk and while Discovery will always be my favorite by them(fun fact Discovery was the Album that was on repeat the first time I tried shrooms and it was an amazing experience so yeah nothing will ever top that in my book). I thought RAM was pretty good. Oh and for some perspective of where I am coming from I mostly listen to bands like Bad Religion (best band ever) and other punk bands though I have gotten into this alt country (Lucero, chuck Regan etc..) eh I have started to ramble time to get back to work…

  24. cpt_freakout says:

    Joining the ‘didn’t like the album’ crowd, because it just isn’t interesting enough. Anyway, who cares? If you enjoyed it, good for you. What I wanted to post was that if you like the classic Daft Punk stuff, there’s several electronica acts that are, well, out-Daft Punking Daft Punk, if that makes any sense. My favorite right now is a Japanese one called 80kidz. Look it up, if you like this music, I’m sure you’ll like them as well. :)

  25. Bork Titflopsen says:

    I love the album, but apart from being a fan, I think a big part of that comes from the fact that they draw inspiration from genre’s I generally already like.

    I think it’s safe to say that if you don’t like pop or electronic music anyway, this probably won’t be your album of the year.

  26. Contrafibularity says:

    I have to agree with your girlfriend on this. RAM doesn’t sound like music, it sounds only vaguely like Daft Punk, and once I listened to it I couldn’t even stand to listen to any music for a week (electronic or otherwise, and I’m a massive RDJ/AFX fan, but also love some of Daft Punk’s work).

    Really, it sounds like all the worst parts of the 1980s condensed into a single album, then turned into elevator music for a horribly kitsch 1980s-themed restaurant chain. On purpose. And I hate the 1980s.

  27. Caiman says:

    Ah music opinion, such a complete waste of time because appreciation of music is so terribly subjective and influenced by experience, genetics, emotional state, nostalgia, familiarity, peer pressure, and many other variables.

  28. leQuack says:

    I absolutely love RAM, been playing it while driving too. Kind of disco and cheesy, but wonderfully produced. Didn’t like at first, but now it doesn’t leave its tray anymore.

    Only thing is, ‘Touch’ (my favorite too) is track 7 on my disc..

  29. Samuelson says:

    Man, reminds me so much of surfing in Counterstrike. Stuff all this mountainous stuff, make clearly defined ramps based on the music and add in tricks and high scores!

  30. Cyphran says:

    Thanks for the tip. Picked it up on HDtracks.com in 88/24 (not sure why they didn’t master in 96/24, but whatever). Knew of them, but never really focused on an album of theirs before. Good stuff.

  31. Josh W says:

    This track is actually pretty impressive. Very boldly put together. Lyrics aren’t quite there (there’s a lot of naivety in the lyrics, which normally I’d be ok with, but given that the production does so much work pulling in different directions, a little more interpretative tension, and any kind of non-obvious imagery would be appreciated) but the sound design and structure holds it up.

    It’s strange, in that that track really doesn’t overstay it’s welcome, and is something you could probably play about 3 times in a row, whereas there are other tracks on that album that seem overly stretched, and one track that feels like it cuts out before it’s really got started, or rather, gives the impression that it’s it’s own first draft. (Doing it right, ironically, has a lot of unfinished potential).

    About the game, it feels to me that you should be able to adjust how you interact with the sheet; whether you bounce off it, swerve across it, suck to it and follow it exactly. There are some bits where you’d want to bounce from drum beat to drum beat, and other times when you’d want to be flying up and down shapes like they are a rollercoaster.