It makes sense as a bonus track, though an instrumental that sounds like end credits music is an odd way to start a half hour of bonus material. The bonus LP starts with “Horizon Ouverture,” a new choral intro to “Horizon,” already released as a Japanese CD bonus track and also included here. You’d think that a million dollars and four years in the studio would result in more valuable unreleased material, but I’m sure the 25th and 40th anniversary box sets will be absolutely sumptuous.
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The 10th anniversary Random Access Memories, retailing at $50, includes that newer cut of the original album plus a new bonus disc with 35 minutes of “unreleased demos and outtakes.” More precisely, you get around 30 minutes of actually unreleased material, mostly studio scraps. If you’re satisfied with the Chab cut, you can skip the new cut (which I believe is the same cut used on all Optimal RAM represses of the past two years).Īs post-pandemic supply chain issues continue and the vinyl market shifts towards younger buyers with tighter budgets, slightly expanded $50-60 commemorative packages have taken focus over the elaborate anniversary box set. The digital source file isn’t remastered and didn’t need to be, rather this is merely a newer set of lacquers. The new 10th anniversary vinyl pressed at Optimal uses a more recent cut of the main album by Marie Pieprzownik and Benjamin Savignoni-also at Translab in Paris-which has tighter bass, airier highs, and quieter backgrounds. There was a tad too much midbass and the high frequencies seemed somewhat veiled in comparison to the 88.2kHz/24bit master resolution file. No matter what format you listen to, Random Access Memories has a natural soundstage, midrange that’s luxurious but not overly sweet, and clean, extended bass.ĭespite the sound already being excellent, the original US pressing cut by Chab at Translab, plated at Optimal, and pressed at Pallas could be slightly improved upon. I’ve seen Reddit posts asking “how do I make my record sound like Random Access Memories?” and if you’ve read the highly informative Sound On Sound article about the technical process… good luck, hopefully your savings account is full.
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Recorded at Conway, Henson, Capitol, Electric Lady, and Studio Gang, Daft Punk and their engineers tracked the sessions to tape and Pro Tools simultaneously, built and edited songs in Pro Tools, mixed it almost entirely in the analog domain, and printed the mixes to both tape and hi-res digital before choosing the best sources for each track. Daft Punk spent four years and a million dollars of their own money making this, and it sounds like it.Īnd yes, the sound is part of what makes the album so special. Criticisms towards RAM’s nostalgic focus remain valid, though thankfully it didn’t cause a nonstop barrage of 70s throwbacks, and the few who tried didn’t get very far. Time and distance reveals it to be more about craft than the actual (decent) songwriting, but few records are so immaculately constructed. Now the focus of an expanded 10th anniversary reissue (way to make the younger generations feel old already!), Random Access Memories still holds up.
It won Album Of The Year at the 2014 Grammys as well as widespread critical acclaim. With its disco stylings, obsessive studio polish not seen so blatantly since Steely Dan’s late-70s heyday, and “real instruments” that the older establishment sorely missed in 2013’s pop landscape, the album was practically industry bait, and intentional or not, it worked.
The French duo of Thomas Bangalter and Guy-Manuel de Homem-Christo released their fourth and presumably final album at the end of the era when labels still spent big money promoting their A-listers, and Columbia certainly promoted the hell out of this one the album’s lead single “Get Lucky” and images of the helmeted duo were everywhere. No matter how hard you tried, in 2013 you could not escape Daft Punk’s Random Access Memories. Daft Punk’s Newly Expanded ‘Random Access Memories’ Leaves You Wanting More The original album? Great as ever.
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