In situ, as light bikes race and weaponised Frisbees soar in this film vehicle about vehicles, Daft Punk's soundtrack will undoubtedly dispense plenty of awe. But there are too few such innovations and too many "Adagios for Tron". The burbling, buzzing stroll of "End of Line" is another. "Derezzed" is one glorious exception in which corrupted, gamey sonics motor along sensationally. Somewhat dishearteningly, they have let rip with catgut, sounding, not like Daft Punk reinventing the film soundtrack, but instead, like a great many classical-aping film soundtracks that have gone before. In pre-release publicity, the band have been praising the staying power of the Stradivarius, a clue, perhaps, to the duo's approach to Tron. But that game-changing album is still some way off. The soundtrack does mark a major change in the duo's sound. By any reckoning, the Tron sequel is the film Daft Punk were born to soundtrack, featuring, as it does, avatars wearing futuristic bike leathers and go-faster (harder-louder-stronger) helmets. Fans routinely expect the next Daft Punk release to be another magnum opus, a game-changer. Their 2007 live album won a Grammy, but again, no new music.ĭespite a decade of damp squibbing, however, Daft Punk's stock remains high. Their 2007 film, Electroma, was well received, but featured none of their music. Their disappointing 2005 album, Human After All, was written in haste. Since then, Daft Punk have been coasting, however. West's "Stronger" didn't so much sample Daft Punk as import Daft Punk's aesthetic wholesale. Plaudits flowed in from LCD Soundsystem ("Daft Punk Is Playing at My House") and Kanye West. But when the house music of Homework, Daft Punk's debut, morphed into a mischievous take on a previously scorned decade on Discovery, Daft Punk set a benchmark. It might be stretching credulity to spandex proportions to lay the entire 00s synth-pop craze at their doorstep as well.
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