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Then we had a long chat about how much we all loved Paul Williams,” Peter remembers. When I told them I’d done Paul Williams’ front-of-house their eyes widened and they were pretty impressed. It was originally scheduled to be just eight shows, but I met Thomas and Guy-Manuel – they asked me what I’d done. He called me one day and just said: ‘I know a couple of guys who want to do a short tour, would you be up for it?’. They asked him if he knew any front-of-house engineers and he suggested me. I had done a tour with Martin Phillips, who was doing all the lighting for their videos, so they’d already asked him if he’d help design the live show. They needed someone to mix their front-of-house. “They hadn’t performed in 10 years at that point, so they were kind of looking for a crew. “I first met Daft Punk in 2005, when they were preparing their live tour,” Peter tells us. We spoke to him about his tour memories, his first encounter with ‘the robots’ and how the record’s concept developed.
Joining them on the tour was engineer Peter Franco, who engineered their Grammy Award winning live album Alive 2007 and went on to work on Random Access Memories. Although initially set to be a short-term affair, the Alive tour became a near-two-year undertaking.
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But Random Access Memories is also Daft Punk's most personal work, and richly rewarding for listeners willing to spend time with it.Following their third full-length LP Human After All in 2005, the duo decided to embark on a series of live dates. For the casual Daft Punk fan, this album might be harder to love than "Get Lucky" hinted it might be too nostalgic, too overblown, a shirking of the group's duty to rescue dance music from the Young Turks who cropped up in their absence. It's the kind of grand, album rock statement that listeners of the '70s and '80s would have spent weeks or months dissecting and absorbing - the ambition of Steely Dan, Alan Parsons, and Pink Floyd are as vital to the album as any of the duo's collaborators.
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Daft Punk have never shied away from "uncool" influences or sentimentality, and both are on full display throughout Random Access Memories.
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A particularly brilliant example is "Touch," where singer/songwriter Paul Williams conflates his work in Phantom of the Paradise and The Muppet Movie in the song's mystique, charm, and unabashed emotions.
"Memories" is the album's keyword: As Daft Punk celebrate the late '70s and early '80s with deluxe homages like "Give Life Back to Music" - one of several terrific showcases for Rodgers - and the spot-on soft rock of the Todd Edwards collaboration "Fragments of Time," they tap into the wonder and excitement in that era's music. And of course, Pharrell Williams is the avatar of their dancefloor mastery on the sweaty disco of "Lose Yourself to Dance" and "Get Lucky," which is so suave that it couldn't help but be an instant classic, albeit a somewhat nostalgic one. Here, they place themselves on equal footing with disco masterminds Nile Rodgers and Giorgio Moroder, who shares his thoughts on making music with wild guitar and synth solos trailing behind him on one of RAM's definitive moments, "Giorgio by Moroder." Elsewhere, Daft Punk celebrate their close relationship with indie music on the lovely "Doin' It Right," which makes the most of Panda Bear's boyish vocals, and on the Julian Casablancas cameo "Instant Crush," which is only slightly more electronic than the Strokes' Comedown Machine. On Homework's "Teachers," they reverently name-checked a massive list of musicians and producers. Instead, Daft Punk separate themselves from most contemporary electronic music and how it's made, enlisting some of their biggest influences to help them get the sounds they needed without samples. The album isn't much like 2010s EDM, either. But when the album finally arrived, that hugely hyped single was buried far down its track list, emphasizing that most of these songs are very much not like "Get Lucky" - or a lot of the pair's previous music, at least on the surface. The Tron: Legacy score indulged the duo's sci-fi fantasies but didn't offer much in the way of catchy songs, so when Random Access Memories' extensive publicity campaign featured tantalizing clips of a new single, "Get Lucky," their fan base exploded. When Daft Punk announced they were releasing a new album eight years after 2005's Human After All, fans were starved for new material.
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