After what seemed like an eternity Daft Punk are finally back, and, erm, not very electro. At all. New single Get Lucky is all funk and stuff. Come on guys, where’s the robots? Ah, there they are, hidden away halfway through the song. Hmm, what’s this? The song was sorta better before? Well, that’s odd. It seems Daft Punk, during their long journeys through the wilderness of not doing Daft Punk stuff, have become a better funk band than an electro one.
That being said, it would be disrespectful not to give some/all the credit to collarborators Pharrell Williams and Nile Rodgers. Rodgers in particular pulls out a seriously silky guitar hook that just ties the whole song together. It gives everything a brilliantly 70s/80s vibe. But like classy 80s. For some reason it makes me instantly think of the sepia-tinted beaches of Vice City, and that’s not a bad point of reference. Williams’ vocal work is similarly smooth, and much better than anything he’s done, erm, ever, really.
If you’d told me in 2005 that Daft Punk were going to take nearly a decade to release a disco album I would have laughed and then went back to Bebo. But, judging from Get Lucky and the frequency with which Williams and Rodgers appear on the album proper, that’s exactly what’s happened. Well done my French amigos, you’ve won me over. Disco isn’t dead, or at least not anymore. We can rebuild it. We have the technology. We can make it better than it was. Harder, better, faster, stronger.
Also, that video reminds of the Mitchell and Webb football sketch(WATCH THE FOOTBALL! WATCH IT! IT’S GONNA MOVE!).
People think I’m sexist because I don’t like enough female singers. To that I propose Janelle Monae, and my unreserved love for said singer. Her debut album, The ArchAndroid, was possibly my favourite album of 2010 and I was so ridiculously hyped for its follow up. Q.U.E.E.N., while by no means a bad song, has tempered that enthusiasm a tad.
If this was someone else I’d probably call it great. But it’s Janelle Monae, so I expect more. Lots more. This seems so unambitious compared to her sweeping concept album about robots and love and, erm, tightropes. It seems so muted compared to the fun and energy of said tightropes. It seems like a step backwards.
She has a good bit of leeway before she steps back into mediocrity or anything but, you know, it’s kinda depressing to see an artist who really excites you become so drably conventional. I don’t want to hear you talk about how your ‘Booty don’t lie’, Janelle. Beyonce and Shakira already did that and neither of them are 5ft tall, suit wearing, neo-soul singers. It just doesn’t work woman!
Also, Erykah Badu shows up at the end to rhyme off some, erm, rhymes about being oppressed and how she’ll show everyone she’s a QUEEN or something. It’s a serviceable cameo, but nothing more.
The song has still got the soul and funk and everything that defines Monae, but it’s grimier and slower and plays to none of her strengths. I guess it’s still fun and sort of entertaining in its own way, but I get the sense I’m just kinda looking for that. What I know is what song out of these two I’m going to put on when I’m done, and, how has this happened, it’s going to be the disco one every time. Whilst Daft Punk are going to be bouncing round my head for days, I’m not even sure I’ll listen to Q.U.E.E.N. again when Monae’s album drops.
Come on Janelle, I’m counting on you. You’re my only argument against sexism.