Random access memories
Daft Punk
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Reviews (3)
PopMatters
d. 2. Oct. 2013
By
By
John Garratt
d. 2. Oct. 2013
"The synth pad presets softly juggle the usual chords around and around while samples get the hell sampled out of them. Meanwhile, the lyrics would never be seriously considered as the writings of an artist approaching fifty years of age. Platitudes are vaguely approached, but never established. "This is how, how we tried / This is where, where it died / This is how, how we cried / Like the dogs left outside," as a chorus, doesn't exude any kind of confidence in any subject matter. Having it sung by Moby himself lessens its reasons for hanging around for over nine minutes at the end of the album".
Consequence of sound
d. 3. Oct. 2013
By
By
Michael Roffman
d. 3. Oct. 2013
"It's a Moby album for sure. No gimmicks or schlocky attempts at something trendy like dub-step, and no curveballs to polarize fans. The only difference is that he's surrounded himself with high profile talent, making this a very flashy L.A. album — yet only on paper".
Drowned in sound
d. 3. Oct. 2013
By
By
Kat Rolle
d. 3. Oct. 2013
"From the first swell of warm, gliding synth, Innocents is unmistakably a Moby record. The spacious soundscapes and disjointed, house-lite percussion could have been lifted from his coffee-table hit Play - it seems we're going to be partying like it's 1999 again ... Whilst the Nineties flavour is strong and those distinctive synths and chord progressions have returned, this isn't a simple rinse and repeat. There's a huge range of styles on display, but Innocents remains a remarkably cohesive and creative record, thanks both to Moby's instrumentation and to the album's conceptual feel".