Daft Punk officially on Columbia

ErickM713 said:
But seriously guys, buy the music, just copped the single off iTunes
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Are you on the east coast? It hasn't popped up on iTunes out west yet.
 
It won't show up on your phones app, but I bought mines on my computer then transferred to my phone, it won't show under purchases on the app either
 
Finally found it. Had to type in many combos to get it iTunes. What a great song. Can't wait to hear the whole version and how it works into the album. Such a perfect groove.
 
For you guys that bought it, whats the song length compared to the radio edit (4min:08sec)?

EDIT: NVM, I guess the radio edit is whats being sold on iTunes.
 
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Am I trippin?

or is the "real" version exactly the same as the leaked version?

*scratches head*.

Oh well, still coppin. :smokin
 
really love this song. has been on repeat the past few days and even though the final version is just a better mix, still happy to have a better quality version. :pimp:
 
The radio edit is not a better mix, it's the entire radio edit. It's the song, Verse-Chorus-Verse style. I don't get how some of you think you've been listening to this song for the past week or so. 

Anyway, album version is 2 minutes longer and im stoked for that. This song is the ****.
 
This is listed as the full song... I'm a big Daft Punk fan, big Nile Rodgers fan, & like most of what Pharrell's done so the 3 of these entities working together is like a Reese's Peanut Butter cup.... It just seems to go hand in hand... Pharrell kinda sounds like he's trying to get his Michael Jackson on...
 
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psk2310 said:
This is listed as the full song... I'm a big Daft Punk fan, big Nile Rodgers fan, & like most of what Pharrell's done so the 3 of these entities working together is like a Reese's Peanut Butter cup.... It just seems to go hand in hand... Pharrell kinda sounds like he's trying to get his Michael Jackson on...
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This is just another mashed up version of the original leaked sample. Not the official full song.
 
^ yeah I realized that when I listened to the whole song. Sorry... Still love it though. Can't wait until the release drops.
 
I love Google translator. Daft Punk detailed some thoughts on each track of their upcoming release to a French site.


DAFT PUNK COMES BACK WITH "RANDOM ACCESS MEMORIES"
"Random Access Memories" brings together thirteen titles. For Obsession.fr, Thomas Bangalter and Guy-Manuel de Homem-Christo, evoke each of these pieces, pending the release of the album, May 20 By Joseph Ghosn and Olivier Wicker

http://obsession.nouvelobs.com/musique/20130418.OBS6224/random-access-memories-par-daft-punk.html


"Give Life Back to Music"
“One of the ambitions of this disc is to provide both something light and elegant. Here is John Robinson Jr., who plays drums. It was this “Off The Wall” album by Michael Jackson. What’s great in a performance like hers is the infinity of possible shades: something we had not used with the electronic programming … Disks produced by Quincy Jones have always fascinated us by their precision ultimate that has never been achieved by any technology whatsoever. It’s a little basic difference between “Thriller” and “Bad.” In the latter, the securities are of a very high level, but the performances are less qualified.”

"The Game of Love"
“We sing with vocoders. At a time when human voices are processed to become robotic, we found exciting to make a more humane as possible robotic voice. The idea of ​​artificial intelligence approaches the man … An emotion of something that is not human but tries to be.”

"Giorgio by Moroder"
“We met several years ago and has always been for us a kind of mythical figure, a little mysterious. His personal journey following the music. The idea came to us a little bit of a documentary based on an interview we conducted. The voice of Giorgio Moroder was recorded with multiple microphones several different times … So we finally recorded about three hours of interviews in which he recounts his life as a musician. This piece is a metaphor for musical freedom: we have always tried to break down the barriers between genres, between good and bad taste, the stuff connected and unconnected. Giorgio is a bit of a model of its kind. He was born in a small provincial town, began studying music in hotel lounges, the opening act for Johnny Hallyday, starts doing stuff progressive rock. To hear him say, in 72 years, “ah, I made ​​electronic music forty years ago,” it’s fascinating.”

"Within"
“Gonzales plays the piano on the song. He’s a friend and a great pianist, one of the best musicians of his generation. “Within” is one of the first songs we recorded. It is very minimal: a little rhythm section, bass, piano. Create the most with very little, this is the idea behind this title.”

"Instant Crush"
“Julian Casablancas of The Strokes sings. We are both great fans and we learned that he wanted to meet us. It was this demo that was lying, he came, he listened and he was thoroughly! It has a kind of gift. We, basically, we love rock and the concept of the rock band, but there were so many strong things that the emergence of a new voice at one point became difficult. Recently, The Strokes and MGMT – with dimensions and sensitivities – succeeded. Julian has a punk rock side, a super strong emotional impact in its melodies. It was important to have this album to feel surrounded by our contemporaries.”

"Lose Yourself to Dance"
“This piece is the simplest definition of our desire: an album and worked very simple at the same time, with a low axis, drums, guitar – and robots! This is the opposite of something overproduced. Our fantasy was to redo the dance music with drums … The record that way has brought us enormous satisfaction, we are proud that it is a real drums on the album and not a box to rhythms. There are two drummers on the disk: John Robinson Jr., who holds the record for the most recorded drummer in the world, and Omar Hakim, who started with Stevie Wonder in 16 years …”

"Touch"
“This piece is the crux of the album. It is the starting point of the entire disk that holds the meeting with Paul Williams. A sound engineer we know we presented. Paul Williams [composer of film music, including "Phantom of the Paradise" and actor] visited us in the studio. From this meeting was born something very cinematic, very narrative. “Touch” clearly defines the psychedelic aspect of “Random Access Memories” . This piece has 250 tracks, so this is the most complicated, the most crazy.”

"Get Lucky"
“Pharrell Williams sings this song: it was natural to invite our album. It is a born performer, complete, which produces a lot of elegance. It has not always had the opportunity to show he could be a great singer, so that we can include it in the pantheon of legendary performers. There is no imaginary line that separate the great artists of the past and present who are all worse than before. We wanted to give the impression of being in a capsule in the studio, isolated from the world. One can believe in 1978, but our idea is to travel this music in the present and in the future, see what happens and see if this enthusiasm is contagious.”

"Beyond"
“Another piece done with Paul Williams who wrote the lyrics. It is a cosmic super song with very poetic lyrics and very pure. We talked a lot with Paul Williams of the direction of this album, and it was worth it to put words to our ideas.”

"Motherboard"
“A futuristic piece, which could be the year 4000 …”

"Fragments of Time"
“Our reunion with Todd Edwards [composer house] after” Discovery.”

"Doin ‘it Right"
“The angelic voice is Panda Bear [group Animal Collective]. We love what he’s doing solo, as well as the approach of his group. This piece – the only electronic song on the album – is the last recorded. The result is a kind of relaxation. Probably the title once the most futuristic and contemporary.”

"Contact"
“A piece made with DJ Falcon and recorded during the last mission of NASA’s Apollo 17 voice is that of Captain Eugene Cernan, the last man to have gone to the moon. It is a voice that literally just space. And it tells speaks for itself …”
Click to expand...


Here's a good post from Rolling Stone also...

Daft Punk Reveal Secrets of New Album - Exclusive
In their first interview about 'Random Access Memories,' the dance duo explain the process and inspiration behind the LP
By Jonah Weiner
April 13, 2013 11:10 AM ET

http://www.rollingstone.com/music/n...l-secrets-of-new-album-20130413#ixzz2QNm9zOWl


Last night, at the Coachella Music and Arts Festival in southern California, Daft Punk debuted a teaser trailer for their new album, Random Access Memories: Without warning, a nearly two-minute video popped up on jumbotron screens flanking the festival's various stages, in which Pharrell Williams, Nile Rodgers and the Daft Punk robots rock out in heavily sequined getups to "Get Lucky," the album's lead single. Surprised festival-goers at the main stage began dancing and pointing camera phones, oblivious to the fact that the French dance heroes – Thomas Bangalter and Guy-Manuel de Homem-Christo – were in fact standing in civilian garb on the edge of the VIP section, watching themselves on the screens with delight. (Pharrell was standing nearby, and he gave Thomas a high five afterwards.) When the screens went black, Thomas and Guy-Manuel were shown tweets from attendees giddy about what they'd just seen. Thomas grinned. "The fun part will be seeing the footage people shot when it hits the Internet," he said.

Random Access Memories, made in near-total secrecy, is one of 2013's most eagerly anticipated – and most enigma-enshrouded – releases. Late last month, for an upcoming Rolling Stone profile of Daft Punk, they discussed the new album’s creation in extensive detail at their studio in Paris. Here are the ten things you need to know:

They began working on Random Access Memories in 2008, in Paris, with no clear plan. "After three records, there was a sense of searching for a record we hadn’t done," Thomas says. The duo were dissatisfied with early demos that leaned heavily on electronic equipment, feeling like they were operating on "autopilot," Thomas says. Eventually, a new approach emerged: "We wanted to do what we used to do with machines and samplers," he explains, "but with people." Except for a snippet of "an Australian rock record" that opens the final track, "Contact," Daft Punk foreswore samples entirely, and they limited the role of drum machines to just two of the album’s thirteen tracks. The only electronics come in the form of a massive, custom-built modular synthesizer that Daft Punk played live on the album, they told me, and an arsenal of vintage vocoders on which they manually manipulated factors like pitch, vibrato and legato. "There’s this thing today where the recorded human voice is processed to try to feel robotic," Thomas says, referring to the undying AutoTune vogue. "Here, we were trying to make robotic voices sound the most human they’ve ever sounded, in terms of expressivity and emotion."

The title captures the duo’s endless fascination with blurs between humans and technology…"We were drawing a parallel between the brain and the hard drive – the random way that memories are stored," says Thomas.

…and their endless fascination with the past. 2001’s Discovery was in part a backward-looking concept album about revisiting the funk, disco and soft-rock of Thomas’ and Guy-Manuel’s childhood. For Random Access Memories, they hired "top-notch session players," says Guy-Manuel, with credits on classic records by Michael Jackson, Herbie Hancock, and Eric Clapton. Chic mastermind Nile Rodgers played rhythm guitar on a few tracks. "The Seventies and the Eighties are the tastiest era for us," Guy-Manuel says. "And all these guys were tripping on meeting again and playing together again." He adds: "It’s not that we can’t make crazy futuristic sounding stuff, but we wanted to play with the past."

Pharrell, Julian Casablancas, Giorgio Moroder, and Animal Collective’s Panda Bear are among the guest vocalists. "We were at a party for Madonna’s last album," Pharrell recalls, "and I was like, You guys should have produced this! Why did that not happen? Madonna and the robots would have been unbelievable! They were like, We’re working on something. I said, Whatever you do, call me – I’ll play tambourine on it. They looked at each other and they were like, We’ll be in touch." Pharrell wound up singing on "Get Lucky" and a stomping disco track called "Lose Yourself to Dance."

The album’s move away from computerized sounds reflects Daft Punk’s "ambivalence" about the EDM craze they helped to inspire. "Electronic music right now is in its comfort zone and it’s not moving one inch," Thomas says. "That’s not what artists are supposed to do." He adds that the genre is suffering "an identity crisis: You hear a song, whose track is it? There’s no signature. Skrillex has been successful because he has a recognizable sound: You hear a dubstep song, even if it’s not him, you think it’s him."

Keep an eye on those Saturday Night Live commercial breaks. So far, Daft Punk have debuted two fifteen-second chunks of "Get Lucky" in ads that play during Saturday Night Live, incrementally revealing more of the song. Along with billboards advertising the album, these TV ads represent a throwback impulse that's guiding the new album’s roll-out. "When you drive on the sunset strip and see these billboards, it’s more magical than a banner ad," Thomas says. "SNL is this part of American culture with a certain timelessness to it." (A billboard overhanging the I-10 east greeted motorists driving to Coachella this weekend.)

The new songs came together around the world. Most vocals and overdubs happened in Paris, but the rhythm sections were committed to Ampex reels in Los Angeles and New York, at Electric Ladyland studio, Henson (formerly A&M) studios, and other venerated old rooms. "There are songs on the album that traveled into five studios over two and a half years," Thomas says. "They’re vials being filled up with life. Today, electronic music is made in airports and hotel rooms, by DJs traveling. It has a sense of movement, maybe, but it’s not the same vibe as going into these studios that contain specific things."

While recording, Daft Punk found time in their schedules to jam with Kanye West for his next album. At their Paris studio, they laid down a combination of live and programmed drums while Kanye worked out rough vocals on the fly. "It was very raw: he was rapping – kind of screaming primally, actually," Thomas says. "Kanye doesn’t give a ****," Guy-Manuel adds. "He’s a good friend." Director (and longtime Daft Punk compatriot) Michel Gondry says that Kanye recently played him "two songs" that sprang from the session. "One of them, I told him it sounded solid and powerful – I envisioned a cube when I heard it," Gondry says. "He told me, Chris Cunningham’s already directing the video!"

The biker gear from the last album and tour is out; sequins are in. Hedi Slimane, the Saint-Laurent-by-way-of-Dior-Homme fashion designer who made Daft Punk’s black-leather bike-dude outfits for their last album, 2005’s Human After All, designed their new look (spied for the first time in the exclusive photo above.)

They say there are no current tour plans to promote the album. Their "Alive 2007" world tour, in which they played within a giant steel pyramid covered in screens, was a marvel of pop stagecraft, but Thomas says "we have no current plans" to tour the new record. "We want to focus everything on the act and excitement of listening to the album. We don’t see a tour as an accessory to an album." When they do finally hit the road, he added, it will be with a career-encompassing set list, not one overly focused on the new material.
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im now getting tired of all these daft punk posts on fb, twitter, here, etc.

yea, the music is good. its catchy, fun to listen to.

but people act like this album is the 2nd coming of the dance music jesus or something..
 
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