It’s hard to remember a movie soundtrack that’s generated as much heated enthusiasm as ‘Tron Legacy’. The soundtrack has been produced by Daft Punk – the French robot duo that pretty much single handedly catalysed popular music’s current obsession with ‘80’s influenced electro sounds. Already there have been several hoax tracks leaked on the web claiming to be from the film, such is the clamour of excitement surrounding all things Daft Punk. With bloggers furiously speculating on what the tracks may sound like and potential remix packages, the levels of anticipation that the soundtrack for ‘Tron Legacy’ has produced could probably out way the actual movie.
Well now the wait is over… You can now stream tracks from Daft Punk’s score direct from the Tron Legacy official site. However, those expecting something akin to Daft Punk’s more tuneful moments (‘One More Time’ / ‘Harder Better Faster’) may be disappointed. What we’re presented with, so far, is a more orthodox sci-fi soundtrack awash with moody synth action a la Vangelis or Tangerine Dream.
Those feeling nostalgic for the party rocking, robot helmet wearing Daft Punk should check out the above video that shows how to make that signature head gear from scratch. All you need is a spare 17 months and a mastery of complex injection moulding techniques.
If one subject has dominated the blogosphere this week, it’s the emergence of a track called ‘The Crash’ – rumored to be the first song taken from Daft Punk’s highly anticipated soundtrack to Tron Legacy. It’s a ten minute long space disco epic that gives a clear nod to Vangelis, never a bad place to start if you’re composing a score. At the moment the track still hasn’t been confirmed by the French duo, but if it isn’t them then someone out there has composed a song worthy of comparison.
In 2001 Daft Punk released ‘Discovery’, an album that continues to influence countless other artists. A leaner affair when compared with their 1997 debut, ‘Homework’, on this album Daft Punk embraced an 80’s synthpop feel, rather than the Chicago House sound of their early work. While it took Thomas Bangalter and Guy-Manuel de Homem-Christo six years to craft the album, for many it was well worth the wait. Opening with the stomping ‘One More Time’ ‘Discovery’ immediately grabs the listener and engages them through to the final chords of epic album closer ‘Too Long’.
The album was also accompanied by an animated film, Interstella 5555, in which the songs were juxtaposed against the adventures of a band in a parallel galaxy. The album also featured Daft Punk’s first ever collaborations, with American DJ/producers Romanthy and Todd Edwards on ‘One More Time’ and ‘Face To Face’ respectively. The album would go on to be a huge influence on the likes of Justice, Soulwax and LCD Soundsystem – who penned the track ‘Daft Punk Is Playing At My House’ in tribute to the French duo.
Yesterday Irish stadium fillers U2 were announced as one of the three headline acts for Glastonbury Festival in 2010. Next year’s festival will be the 40th year in which thousands of music fans invade a usually serene and peaceful farm in Somerset. Festival organiser Michael Eavis had previously hinted that he would be pulling out all the stops to ensure 2010’s celebrations would go off with a bang and with U2 he has secured one of the world’s most popular acts. Despite filling arenas around the world, U2 have never played Glastonbury before so it’s an almost certainty that their set will be one of the most memorable of the weekend.
While this news proved the perfect Monday morning antidote for many ticket holders, some of the festivals regular goers may be slightly less than enthused about the prospect of seeing Bono strut along the Pyramid Stage. However the key to Glastonbury’s success has always been its versatility, while U2 are the only band announced so far; it’s safe to assume Michel Eavis already has his eye on a few other potential targets. We weigh up a few of the other possible contenders… Read more…
Duck Sauce, the collaboration between A-Trak and Armand Van Helden, has rocketed up to second place on our UK Pre-Release chart. The track has become a firm favourite within Shazam Towers and is sure to continue to win over more fans.
Taking its cue from American 70’s talent shows, the video for ‘aNYway’ echoes Outkast’s ‘Hey Ya’ as well as a certain 5 piece called The Jacksons. In a similar fashion to Daft Punk, Duck Sauce have re-imagined a lost disco track and repacked it for modern dance floors – let’s just hope this excellent single isn’t a one off!
Despite not releasing any original music since 2004’s ‘Human After All’, Daft Punk remain one of the most important and influential acts in the current pop climate. Their mix of Gallic disco and balls to the wall electro has helped inspire the careers of many from KanYe West to Justice and inadvertently stimulated the current craze for vocoder and synth drenched pop / R&B.
Now, after months of rumours, Daft Punk confirmed they will be providing us with some eagerly awaited new music in the soundtrack for the forthcoming blockbuster ‘Tron Legacy’. Announced at the Comic-Con event in San Diego, Daft Punk are set to provide 24 tracks for the much hyped film. Added to this ‘Tron’ director, Joseph Kosinski, let slip that there will be “some Daft Punk Tron-themed events on the horizon” – cueing all sorts of crazy internet speculation regarding a potential return of Daft Punk’s amazing live show.
If that’s not enough to wet your appetite, you can check out the first glimpses of Daft Punk’s new tracks as the new Tron Lightcycle is unveiled at Comic-Con. Look out for some seriously over excited comic book fans as the bike is exposed for the first time!
It’s been almost 15 years since acts like Daft Punk, Cassius and Alan Braxe came along with the French touch sound, instantly reinvigorating house music with a disco influenced nous. Now, with everyone from Tiesto to Black Eyed Peas using almost identical electro influenced sounds, it would seem dance music could do with another kick up the backside. Thankfully Duck Sauce, AKA Armand Van Helden and A-Trak, provide just such a blow by revisiting the glory days of 90’s filtered house.
As a dance music pairing you would be hard pressed to find a duo with such esteemed credentials as A-Trak and AVH. Van Helden has been behind some of the most important developments in dance music; responsible for defining Speed Garage, early Tribal House, chart topping Disco House and most recently club shattering Electro with Dizzee Rascal’s ‘Bonkers’. Armand Van Helden has been there, done it and bought a whole box of T-shirts. Meanwhile, A-Trak made his name as a 15 year old turntable prodigy; winning every scratch mixing trophy on Earth before he could shave. He went on to become KanYe West’s tour DJ and introduced the rapper to the sounds of Daft Punk – inadvertently spawning the hit ‘Stronger’ and the current electro-rap explosion.
‘aNYway’ has all the hallmarks of Stardust’s ‘Music Sounds Better’. Filtered disco strings, wobbly funk flecked bassline and a chorus that sounds like it’s been ripped direct from a long lost Ashford & Simpson classic (it’s actually sampled from a Final Edition track, but let’s not split hairs). The vocals feel instantly recognisable yet new and the constant groove is nothing short of joyous. In a nutshell it’s completely at odds with minimal/ electro sounds that tend to sound great in clubs but are unlikely to produce memorable cross over hits. If Duck Sauce starts a new vocal house revolution chart music in general could be all the better for it.
Here’s Duck Sauce talking about the inspiration for the record:
After churning out a feature length film, a pair of robot action figures, an 80’s dancefloor inspired coffee table and sets of $65000 replica robo helmets; Daft Arts, the production company owned by Daft Punk, have made their first forays into music video direction. The video for ‘Flushed and Flamelike, Themselves’ by LA based singer songwriter Douglas Armour’s features what appears to be a marooned Pearl Jam fan rushing around a forest in Baywatch style slow motion. It’s very well shot and the song is actually pretty nice.
It’s all perfectly pleasant, but wouldn’t it be better if Daft Punk got back to doing this…
