Hi-Fi Sci-Fi: Five Favorite Daft Punk Moments

Formed in 1993, Daft Punk consists of the French duo, Thomas Bangalter and Guy-Manuel de Homem-Christo, who have continued to don dapper futuristic personas, shielding their faces from the public by wearing gleaming robot-inspired helmets. In one sense, this allows a focus toward the sci-fi sound of their music, while, in turn, it works as an inventive marketing strategy that balances professional familiarity with personal anonymity.

“Around the World,” from their 1997 debut album, Homework, celebrates the cyclical, from the song title itself (the track’s only lyrics on a synthesized loop) to its therefore mostly instrumental, intentionally repetitive retro-funk sound. Even its video embraced spherical visuals: dancers, assigned to designated riffs, beats and blips, moving on a concentric circular stage, plus there’s colorful backdrop of porthole lighting. Daft Punk made going around in circles more desirable than dizzying:

Four years later, they released, Discovery, which featured the fitting “One More Time”; “Harder, Better, Faster, Stronger,” which would later be heavily sampled by Kanye West on his 2007 track, “Stronger”; and “Digital Love.” Remember this commercial for the GAP, with the actress and singer, Juliette Lewis? (The jeans—and the video quality itself—are shall we say, vintage.)

From Madison Avenue to the movies: In 2010, they created the 24-track score for the film, Tron: Legacy, creating a mood to match the gloom-and-doom world that exists inside a cutthroat video game, with “Recognizer” starting out as intensely ominous, then suddenly becoming one of the most hauntingly beautiful tracks:

On 2013’s electro-disco, Random Access Memories, it was filled with inspired collaborations, most notably with Pharrell Williams and Chic’s Nile Rodgers on “Get Lucky” and “Lose Yourself to Dance.” In 2014, the album won the GRAMMY for Album of the Year:

And finally, their work on the 2016 album, Starboy by The Weeknd, in particular on the synth-R&B title track, and on the sexy, soulful bop of a ballad, “I Feel It Coming.” The bass riff that rolls in before the second verse is something for which to wait:

Will there be more good things from Daft Punk in the future, that sound like the future? I feel that coming too.

Pop Playlist: The Smiths: “Please, Please, Please…”

The Smiths’ “Please, Please, Please, Let Me Get What I Want” is just shy of two minutes long, but it efficiently goes straight to the heart of desperate longing. The lead singer, Morrissey sounds as if he’s in mid-prayer, a plea to experience “Good times for a change.” Acoustic guitar, and the defeated sadness in his voice, create a somber tone, yet not one of complaining, but contemplation. There’s disappointment, but he’s also hopeful; he’s the “good man” who doesn’t want to “turn bad.” The lyric, “Haven’t had a dream in a long time” may be the track’s most vulnerable, with the later “what” in “get what I want” open to interpretation, the “what” replaceable with “who.” (Morrissey has in fact applied this lyric change during live shows.)

The song works well in the heartwarming (and heartbreaking) film about the confusion of unrequited love, (500) Days of Summer, with Joseph Gordon-Levitt (Tom) and Zooey Deschanel (Summer). In the hopes of getting Summer’s attention, Tom plays the song out loud for co-worker and fellow Smiths admirer, Summer, only for Summer to walk right by his desk.

“Please, Please, Please…” has been covered by Deschanel (She & Him), and the Dream Academy, whose version appears in the film, Ferris Bueller’s Day Off.

The Enveloping Sound of Engelwood’s “Puerto Rico”

Credit once again goes to YouTube vlogger, MarkE Miller, and fellow channel, Majestic Casual, for this discovery. Miller recently posted a vlog featuring a song entitled, “Puerto Rico” by the producer, Engelwood. The mostly instrumental track evokes a little bit of Marvin Gaye smooth, part Capitol Cities’ “Safe and Sound.” At just over 2:30, it starts very quietly but ramps up to its full, funky level, so don’t adjust the volume when the song starts; its presence will be made, slowly but surely. It’ll eventually wash over you, filling the ears and surrounding the head with the deepest, most interesting, satisfying bass-drum (heart) beat.