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Discovery
Discovery in Bloomington, MN
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Four long years after their debut,
Homework
,
Daft Punk
returned with a second full-length, also packed with excellent productions and many of the obligatory nods to the duo's favorite stylistic speed bumps of the 1970s and '80s.
Discovery
is by no means the same record, though. Deserting the shrieking
acid house
hysteria of their early work, the album moves in the same smooth
filtered disco
circles as the
European dance
smashes (
"Music Sounds Better with You"
and
"Gym Tonic"
) that were co-produced by
DP
's
Thomas Bangalter
during the group's long interim. If
was
Chicago house
record, this is definitely the
New York garage
edition, with co-productions and vocals from
Romanthony
Todd Edwards
, two of the brightest figures based in New Jersey's fertile
garage
scene. Also in common with classic
East Coast dance
and '80s
R&B
surprisingly focuses on songwriting and concise productions, though the pair's visions of bucolic
pop
on
"Digital Love"
"Something About Us"
are delivered by an androgynous, vocoderized frontman singing trite (though rather endearing) love lyrics.
"One More Time,"
the irresistible album opener and first single, takes
Bangalter
as a blueprint, blending sampled horns with some retro bass thump and the gorgeous, extroverted vocals of
going round and round with apparently endless tweakings. Though
"Aerodynamic"
"Superheroes"
have a bit of the driving
acid
minimalism associated with
, here
is more taken with the glammier,
poppier
sound of
Eurodisco
and late
. Abusing their pitch-bend and vocoder effects as though they were going out of style (about 15 years too late, come to think of it), the duo loops nearly everything they can get their sequencers on -- divas, vocoders, synth-guitars, electric piano -- and conjures a sound worthy of bygone
electro-pop
technicians from
Giorgio Moroder
to
Todd Rundgren
Steve Miller
.
are such stellar, meticulous producers that they make any sound work, even superficially dated ones like spastic early-'80s
electro
/
(
"Short Circuit"
) or faux-orchestral synthesizer baroque (
"Veridis Quo"
). The only crime here is burying the highlight of the entire LP near the end.
"Face to Face,"
a track with
wunderkind
, twists his trademarked split-second samples and fully fragmented vision of
into a
dance-pop
hit that could've easily stormed the charts in 1987.
even manage a sense of humor about their own work, closing with a ten-minute track aptly titled
"Too Long."
~ John Bush
Homework
,
Daft Punk
returned with a second full-length, also packed with excellent productions and many of the obligatory nods to the duo's favorite stylistic speed bumps of the 1970s and '80s.
Discovery
is by no means the same record, though. Deserting the shrieking
acid house
hysteria of their early work, the album moves in the same smooth
filtered disco
circles as the
European dance
smashes (
"Music Sounds Better with You"
and
"Gym Tonic"
) that were co-produced by
DP
's
Thomas Bangalter
during the group's long interim. If
was
Chicago house
record, this is definitely the
New York garage
edition, with co-productions and vocals from
Romanthony
Todd Edwards
, two of the brightest figures based in New Jersey's fertile
garage
scene. Also in common with classic
East Coast dance
and '80s
R&B
surprisingly focuses on songwriting and concise productions, though the pair's visions of bucolic
pop
on
"Digital Love"
"Something About Us"
are delivered by an androgynous, vocoderized frontman singing trite (though rather endearing) love lyrics.
"One More Time,"
the irresistible album opener and first single, takes
Bangalter
as a blueprint, blending sampled horns with some retro bass thump and the gorgeous, extroverted vocals of
going round and round with apparently endless tweakings. Though
"Aerodynamic"
"Superheroes"
have a bit of the driving
acid
minimalism associated with
, here
is more taken with the glammier,
poppier
sound of
Eurodisco
and late
. Abusing their pitch-bend and vocoder effects as though they were going out of style (about 15 years too late, come to think of it), the duo loops nearly everything they can get their sequencers on -- divas, vocoders, synth-guitars, electric piano -- and conjures a sound worthy of bygone
electro-pop
technicians from
Giorgio Moroder
to
Todd Rundgren
Steve Miller
.
are such stellar, meticulous producers that they make any sound work, even superficially dated ones like spastic early-'80s
electro
/
(
"Short Circuit"
) or faux-orchestral synthesizer baroque (
"Veridis Quo"
). The only crime here is burying the highlight of the entire LP near the end.
"Face to Face,"
a track with
wunderkind
, twists his trademarked split-second samples and fully fragmented vision of
into a
dance-pop
hit that could've easily stormed the charts in 1987.
even manage a sense of humor about their own work, closing with a ten-minute track aptly titled
"Too Long."
~ John Bush
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