You love Daft Punk. And you love French House. And you love 80s Pop and 70s Disco and 90s Dance even more. So when you listened to “Random Access Memories”, your first thought was this: Finally, they made songs that really took us back into time when music was different – when records couldn’t be leaked, or streamed. But in all this euphoria you didn’t notice that Daft Punk were already changing their sound by then, and heading straight towards mainstream mass appeal.
For fans of early Daft Pun,k who love dance music, house, and techno, “Daft Punk Sell Out” is not a Pop-EDM track. Heck it’s not even a Daft Punk track! It’s the house music that we know Daft Punk made back in the day, with filtered sampled loops, drum machine-programmed beats, and electronic harsh noise.
It’s plenty of that and it is composed by producer Echo Twelve, who sort of traces a timeline of Daft Punk’s sound – going from their 1997 debut album “Homework” and moving all the way through to the planetary smash pop single “Get Lucky” .
You can fist-pump to this music; you can go nuts to it, but when you listen to “Daft Punk Sell Out” for the first time, go into it with a different state of mind than the new pseudo “House Music” styles currently riding the pop radio charts. I invite you instead to hop into your DeLorean and take a plunge back to the nineties, when dance music was quite different…and so were Daft Punk!
For the most part, “Daft Punk Sell Out” is what Daft Punk would have produced 20 years ago. This is a tribute to those who grew up to those nineties sounds, though the track doesn’t hesitate to take a tongue in cheek look at “Get Lucky” towards the song’s closing bars.
If you buy this album with the intent of listening to something similar to what Daft Punk released during their “Discovery” and “Homework” years you will be extremely pleased.
Echo Twelve proves on “Daft Punk Sell Out” that there is almost no comparison between then and now for Thomas Bangalter and Guy-Manuel de Homem-Christo. However, whether this track is a tribute or a condemnation of Daft Punk’s chameleonic climb to success, I’ll leave for you to decide.