Jimmy Eat World Album Review: Damage

  Once again we take a look at another rock band, but this time we leave Fall Out Boy and enter the domain of Jimmy Eat World with their newest album; Damage.  Now I personally love Jimmy Eat World, so when I heard that Jimmy Eat World was coming out with another album, I immediately wondered what the album was going to be like.  Would Damage be much more like their old work and be edgier, or as fresh as say Futures or Invented?  Fans of Jimmy Eat World, young and old, fear not, for Damage is one of the best albums by the group and presents itself in a way that all Jimmy Eat World fans will enjoy.  With songs ranging from sweet and moving to bold and energetic, Damage is yet another great album by a great band.

Track 1: Appreciation
  Appreciation is the first track on the album, and it sounds like something that could've been straight from their last album or Chase This Light.  With Jim Adkins' vocals, Appreciation sounds almost arena-rock like and could be a big song to play live.  It's perfect for the entire audience to sing together with Adkins belting out how they build and they box and that they carry on.  The song brings such a, dare I say, appreciation for the future.  You might go through some heat breaks here and then. but you will go on and you will live your life.  Don't let yourself down; you have Jimmy Eat World.

Track 2: Damage
  Damage isn't just the best song on the album, it's one of the greatest songs by Jimmy Eat World.  Damage provides a very interesting and poignant question; are having high and unreasonable expectations for someone else damaging the both of you?  Is doing the same thing over and over again while expecting to become the best damaging your whole life?  Why are we living a lie where we keep damaging one another?  Well, I'm sure the song means something like that.  Even if Damage wasn't about anything, it just sounds so beautiful.  Beautiful would be one word to describe this album.  Damage as an album is full of pretty songs, but Damage as a song takes the rest of the album by storm.

Track 3: Lean
  Lean here is presented metaphorically, obviously.  It doesn't take a genius to figure that out.  It would be pretty funny, though, if Jim Adkins had to lean on somebody all the time, but that isn't the case.  Lean is like an alternative rock version of Lean On Me.  Once again, it doesn't take a genius to figure that out.  Lean comes off as somewhat of an unfortunate tale as the story of this man who pleads for this person to trust him like he trusts them.  Try as he might, he is neglected, but you know what?  He keeps on trying.  Nice touch, Jimmy Eat World, not a bad song at all.

Track 4: Book Of Love
  Gee, ain't that a cheesy title?  So I went from reviewing a song on an album called The Game of Love to a Book Of Love.  Well Book Of Love may have a cheesy title, but the song itself doesn't come off as too cheesy.  Book Of Love is more like a ballad of someone's life.  Perhaps cataloged into a book?  Maybe the person described is a story character.  Honestly, Book Of Love is more ok.  However, it does set up the next song nicely.

Track 5: I Will Steal You Back
  Oh boy is this a good one.  I know I called Damage the best song on the album, but I Will Steal You Back comes at an extremely close second.  I Will Steal You Back is a perfectly energetic jam that seems fitting coming from a new album.  Obviously I Will Steal You Back is direct, however I feel as if the track has another meaning attached.  It's a calling card to the fans.  Fans who might've lost faith in Jimmy Eat World.  It's not like Jimmy Eat World went on a hiatus; their last album was in 2010, but any fan who left them before upon hearing this will immediately become enthralled with Jimmy Eat World once again.  It's an amazing song that never ceases its amazingness.  What more do I need to say other than amazing!

Track 6: Please Say No
  Please Say No is a slower song played on an acoustic guitar (mostly) accompanied by soft vocals.  Normally a song that starts this way would seem boring, or even worse one of those four chord songs that drunk party guys only know how to play to get laid.  However, I much prefer Please Say No over those songs any day.  There aren't too many songs like this where the lead singer says that we shouldn't be together.  That's something you rarely hear.  A sympathetic and down to earth ballad where the singer wants to stay away from the person.  There are songs like these that amaze me.  You hear so many love songs that are about everything love can offer, but rarely do you hear love songs where the people aren't in love.  Where the people hardly even look at each other as acquaintances.  Perhaps Please Say No could be about distance between two lovers, but I feel that the two people in question here have no connection at all.  Just that they know each other and don't want to be around one another.

Track 7: How'd You Have Me
  How'd You Have Me is a question I'm sure many people will ask after a break up.  "I'm too awesome, how did someone like you ever get to be with someone like me?"  Is what that sounds like.  However, Jimmy Eat World turns this around by saying how his ex got to have him, but he didn't get to have anything else in the world other than his ex.  "How did someone like you get me, but I in return was only able to get you?"  Is more what the song is about.  At the same time you make them seem like they got ripped off and you got ripped off at the same time.  Brilliant.

Track 8: No, Never
  The start of No, Never sounds like the entrance a final boss would have.  If that's the case, then No, Never is probably a final boss that is only moderately upset.  But let me just state that I'm not a huge fan of emo, which is strange because I love Jimmy Eat World.  Emo has always been looked down upon by being portrayed by ridiculous looking individuals whining incessantly about everything and all along becoming more and more punchable.  Why do I bring this up?  Because I wanted to bring up the point that Jimmy Eat World can be emo, and when they are, they aren't preachy whining kids dressed in all black trying to scream how bad they have it in life.  What Jimmy Eat World does so well is make emo tolerable and not absurdly pretentious.  This is best presented in Damage in the song No, Never, which sounds so close to the point where it could become whinny pretentious garbage, but strays far away from that path and brings a more listenable and enjoyable experience.

Track 9: Byebyelove
  Byebyelove is like an even softer version of Please Say No.  However, the title might be even cheesier than Book Of Love.  The chorus doesn't help that much, as it's mostly just a lame way to end a relationship.  Just by saying bye bye?  You did so well ending this relationship on previous songs, and it just seems like the odd one out on the album.  However, Jimmy Eat World does make up for it with a very powerful and moving bridge.  Though it doesn't change much, it stays consistent enough to bring everything together.  The bridge alone makes the song worth it for me.  But in the end, Byebyelove is just more or less ok compared to the rest of the songs on Damage.

Track 10: You Were Good
  You Were Good is just one of those harsh but real and straightforward titles that tells you everything you need to know about the rest of the song.  You Were Good works like an opposite of Good Riddance.  Instead of hoping that the one you've broken up with had the time of their life, you're saying I enjoyed our time together, but we just weren't going to work out in the end.  The times may've seemed like they were meant to last, we just didn't have anything that would make us last... You Were Good.  Fantastic ending to an album for a band that constantly earns my respect.  I love this song, I love this album, and I love Jimmy Eat World.

  Damage may not be the album that more hardcore fans of old Jimmy Eat World were expecting, but Damage does bring fans of Jimmy Eat World and alternative rock a satisfying album that'll last for a long time.  I can expect a lot of these songs to be played on alternative rock stations in the future and I'm sure that Damage will acquire quite a following.  Though at times Damage might've dragged on or even gone a bit too far, or maybe some songs should've gone even further, I really enjoyed this album.  Some parts are beautiful, some parts are melancholic.  However I can say that Jimmy Eat World did steal me back and I am once again glad to be listening to their awesome music.

Verdict:  Damage might not be the greatest Jimmy Eat World album, but I'm sure all fans of alternative rock and Jimmy Eat World will find something to fall in love with on this album.  Final Score: 8/10.

Capital Cities Album Review: In A Tidal Wave of Mystery

  Welcome back for another album review.  This time the album is not from an artist coming off a hiatus; instead this album is the very first for this artist.  Let me introduce Capital Cities, an act first formed in 2009 when one half of the duo, Ryan Merchant, met the other half, Sebu Simonian, on Craigslist.  Merchant was looking for someone to help him with production, and the two became partners instantly.  After a few years with experimenting in music and making music for commercials, the pair released their self-titled EP in June of 2011 on their own record label, Lazy Hooks.  A year later, the duo signed on with Capital Records in order to create their first album, In A Tidal Wave of Mystery, which came out on June 4th, 2013.  

  Before I start reviewing the album, I would just like to say that In A Tidal Wave of Mystery has to have the coolest album artwork of any album that I'm going to review this year, or in that matter, any album I may ever review.  I mean, just look at it!  A flying yellow whale, Planet-sized Walrus,  astronaut tiger, one hip white elephant, and a hidden octopus all taking place in space has to be one of the coolest selections for album artwork I've ever seen.  The artwork was created by João Lauro Fonte, a Brazilian artist who you should definitely check out.  He made other artwork for Capital Cities, and is fantastic and very underrated.  Seriously, check him out, his artwork is awesome.  But without waiting any longer, here's what I think of the album.

Track 1: Safe and Sound

  Safe and Sound is the band's biggest hit yet.  Hitting number 1 in Germany, and since its inception into the Hot 100 it's only risen higher and higher.  This doesn't make me surprised as Safe and Sound is a fantastic way to start off the album, and it is by far the best track on the album.  Safe and Sound went through about 10 different forms until it was finished, and Merchant describes the addition of a trumpet as "one of our best decisions on the song."  Safe and Sound is amazingly catchy and a fantastic dance jam.  Interesting to note that through both videos released by the band for Safe and Sound, that Safe and Sound is sort of an "anti-doomsday song in some ways - expressing the idea that every generation thinks that the end of the world is right around the corner, but it never comes to pass" as described by Merchant.  We all think that the world is going to end, but that never happens and we're all safe and sound and should just dance is pretty much the meaning behind Safe and Sound.  It's also one of the few songs on the album with an actual meaning, but that's not a bad thing.  The trumpet is the real show stealer with Safe and Sound, and as we'll see later, the trumpet gets even funkier and there will be many more instances to dance to.  Safe and Sound is pure pop brilliance.

Track 2: Patience Gets Us Nowhere Fast

  A very eclectic feel surrounds Patience Gets Us Nowhere Fast as you realize the meaning behind Patience.  It's pretty obvious, Patience tells the listener that you shouldn't just sit around waiting for something to come to you, go out there and make something for yourself!  That may be one of the most common messages in songs, but it's a good lesson, and it works well.  Capital Cities weren't patient, because they went out there and they made a name for themselves and brought themselves up to making their first album.  It's a good lesson and a good song, however it just kind've ends at the end.  The opening and the chorus are catchy, albeit not as catchy as Safe and Sound, but sufficient enough for Patience.

Track 3: Kangaroo Court

  Kangaroo Court is the second single released by the band after Safe and Sound, and I can see why.  There's a nice feel to the song, and it's another dance jam.  However, Kangaroo Court has another time-old cliché; the describing a wild party by stating how everyone is acting like an animal.  However, as much as I am tired of this cliché, there are still songs that I like that are literally called Animal, and I'm thankful that Capital Cities takes this a step farther; by literally describing what animal everyone is acting like.  That animal is a... kangaroo, in fact, this wild party has turned into a wild kangaroo court party.  That sounds pretty awesome if I do say so myself.  It's nice to see someone once in a while take a spin on an overdone cliché.  Plus, there's even more trumpet action, which is always a plus.

Track 4: I Sold My Bed, But Not My Stereo

  What an interesting title and I will say that this opening is fantastic.  It gets you into the perfect mood for the rest of this song.  It also gives a perfect example of how well Capital Cities is with sound mixing.  As for the rest of I Sold, it has a very witty and clever meaning that obviously states that Capital Cities would rather give up what would normally be a necessity to keep their spirit of music alive.  Also, I feel that I Sold details a story of perhaps one of the band members scoring a hot date and when they bring them home they come to the shock that there's no bed and this is how they defend their actions.  A very funny and witty song, I Sold is perfect to listen to when you want to start blaring out music as you sleep on your floor. Oh, and there's more trumpet action.

Track 5: Center Stage

  No, this isn't a reference to the Neil Peart documentary, instead Center Stage is  a feel good song about finally living in the life.  It's about seizing the moment for your own hands and making the most out of being onstage.  Center Stage isn't just restricted about being on the Stage, it's more about being positive about everything you do, sort've like Patience Gets Us Nowhere Fast.  One of the more ok songs on the albums, but it still succeeds at what it tries to do, and that is give us some more Capital Cities.

Track 6: Farrah Fawcett Hair featuring André 3000 & Shemika Secrest and narrated by Frank Tavares

  Well this is a unique one.  I don't think I've heard anything like this in a while.  Let me just say right now that Farrah Fawcett hair doesn't really mean anything.  In fact, it's pretty much just Capital Cities just showing off what they can do with sound mixing, and what can they do?  Make a pretty good song as far as I'm concerned.  With all of the voices going in and out of the song with people just talking about what they like, it's pretty interesting, but it doesn't really mean much in the end.  Like I just said, Farrah Fawcett hair doesn't really mean anything, it's just a cool song with a lot of sound mixing.  André 3000 also has a verse, and it's really nice to see him back again.  Regarding the song and André 3000, Merchant had this to say, "We went into it with absolutely no rules. We tried to make it the most ridiculous song we possibly could. We had this middle section of the song and we wanted to get one of the most undeniably good rappers on there. We immediately thought of André 3000. I think it appealed to him because of its quirky sensibility."  What's interesting about André's verse is that it's once again just a list of things that he likes.  That's what this song comes down to, a list of what people like, and for that I would like to add Farrah Fawcett Hair to the list of things that I like.

Track 7: Chartreuse

  Color everywhere!  As the song practically explains.  Color me, color you, color as much as you can, color anything!  I honestly don't even know if there's any other meaning to Chartreuse.  Chartreuse is pretty much a fun song that I imagine Capital Cities recorded while painting.  Chartreuse is more or less ok, but it gives even more trumpet action and that makes me happy.

Track 8: Origami

  Origami presents itself as a more romantic track on the album, where the lyrics "I stole your diamonds and gold, what are you going to do?" probably refers to either Merchant or Simonian entering the life of whoever they're with.  As for why there's random times where the word "Origami" is shouted, I honestly have no idea.  I'm pretty sure that it works a lot more than shouting "Passtraammii" or something like that.  Origami may leave me a bit uncertain, but with as much trumpet action that I'm getting I am as pleased as I can be with this song.

Track 9: Lazy Lies

  At first thought, it sounds like something the beach boys would make if they used a lot more synths.  Lazy Lies sounds a lot like a 2 man version of a beach boys single with more synths.  The synths are very pretty and create a nice atmosphere for the song to build itself around, but it never really does that. Lazy Lies just kind've ends the way it starts without amounting much and is more or less a segue to the rest of the album.

Track 10: Tell Me How To Live

  Tell Me How To Live at the beginning sounds exactly like Another Brick In The Wall Part 1/ The Happiest Days of Our Lives by Pink Floyd.  In fact, if I had to describe Tell Me How To Live it would be a funk-pop-electric version of Pink Floyd's Another Brick In The Wall's bass line.  Tell Me How To Live is an ironic title as the chorus exclaims "Ain't nobody gonna tell me how to live."  Obviously Tell Me How To Live is exclaiming "I do what I want!" in a non-threatening way and I love it.  One of the more funkier songs on the album and a great way to express your self-freedom, Tell Me How To Live is catchy, enjoyable, and funky.

Track 11: Chasing You featuring Soseh

  Chasing You starts off as what an 80's arcade game would sound like when you thrust another quarter in to get an extra set of lives.  Chasing You sounds like what would be a stalker fantasy, but in the song the pursuer wanders into the person he's chasing and has no idea what to do when he does confront her.  Also, Soseh has a beautiful voice and tells him straight up that she's running too, but not away from the Capital Cities, no, quite the opposite really.  In fact, Chasing You is a story of two people chasing each other until they find one another.  Chasing You reminds me a lot of the movie Amélie, where both Amélie and Nino are looking for each other and when they do find each other they just don't know what to do.  Chasing You is one of the few tracks on In A Tidal Wave of Mystery that details a story and I'd like to see what more story-telling Capital Cities can bring us in the future.

Track 12: Love Away

  Love Away is a pretty upbeat song on a pretty upbeat album.  Love Away is a romantic version of Safe and Sound to put it bluntly.  Love Away is also taking a look at past upsets and ignoring them to embrace what you have now and in the future.  Love Away is an ok end to a pretty decent album.

  In A Tidal Wave of Mystery is the very first album for Capital Cities, and as such, does what an artist's first album should accomplish.  That is getting the listener prepared for what the artist will bring in the future, and with that being said, I really enjoyed In A Tidal Wave of Mystery.  Here's to the future, Capital Cities, and to you too, Lauro Fonte, because if it wasn't for Capital Cities, I wouldn't have been introduced to your amazing artwork.  In A Tidal Wave of Mystery succeeds at both being enjoyable and preparing the listener for the future of their work.  Here's to a bright future, Capital Cities!

Verdict:  In A Tidal Wave of Mystery is fun, memorable, upbeat, retro even, and is a nice taste of what is hopefully yet to come from the duo of Ryan Merchant and Sebu Simonian that is Capital Cities.  Final Score: 7/10.

Daft Punk Album Review: Random Access Memories

  King James here once again with an album from an artist whose coming off a hiatus.  This time it's not the pop star Justin Timberlake or the punk rock group Fall Out Boy, but the robot rockin' duo all the way from France; Daft Punk.  Random Access Memories is the first album from Daft Punk in 8 years, and has been received with perhaps the warmest of welcomes.  The album debuted at number 1 on Billboard's top 200; a first for the group.  The album's lead single has entered the top 5 on Billboard's hot 100 and debuted in the top 20, another first for the duo.  So far, Random Access Memories has become the second most successful album in 2013, right behind Justin Timberlake's The 20/20 Experience.  Random Access Memories, just like all of the other Daft Punk albums, brings a whole different sound for the group.  This time there is very little sampling, many different featured guests, and is a throwback to the late 70's early 80's disco and funk mixed with futuristic sounds and even classical music.  I myself had high hopes for this album.  Daft Punk is one of my favorite artists of all time and I wanted to see if they could even outdo themselves with Discovery; one of my favorite albums of all time.  So what do I think of Random Access Memories?  Let's take a look at each track first.

Track 1: Give Life Back To Music

  Wow...  All I can say is wow.  This is how you open up an album.  In my Ke$ha Warrior review, I stated that an album should open in a way that will get you interested in listening to the rest of the album.  Give Life Back To Music doesn't just do that; Give Life Back To Music exceeds that.  Give Life Back To Music exceeds all expectations when it comes to opening an album.  Right at the start, the album starts with a bang as Give Life Back To Music kicks itself into gear.  After being blasted by concentrated awesomeness in music form, the song then chills with an awesome 70's style riff.  Random Access Memories was heavily inspired by disco and disco rock, and boy, does Give Life Back To Music show.  Give Life Back To Music is amazing and one of the best songs on the album, gives a fresh taste to what is to come for the rest of the songs, and is perfect with how you start off an album.

Track 2: The Game of Love

  With as big of an opening as Give Life Back To Music was, The Game of Love is surprisingly slow.  In fact, it's probably the slowest song on the album.  Nothing really wrong with that, though, as I do enjoy a lot of slow songs, and The Game of Love is very enjoyable.  What I though was going to be a romanticized 70's disco funk version of a kung fu movie theme song ended up being a robotic and moving ballad of a love long lost.  It sounds just like a robot bar filled with all of the depressed droids drowning their sorrows in oil longing over their hard drives leaving them for a stronger cpu.  I have honestly no idea what that's supposed to mean, but as strange and out of place as it might be, it's surprisingly a nice relaxing and meaningful song.  Here is where the album's title seems to make sense. Random Access Memories is obviously a play on words of RAM, or random access memory for computer data storage.  However, memories may make sense for the title, because if any song on he album can bring up as many futuristic robotic memories then it's The Game of Love.

Track 3: Giorgio by Moroder

  The longest track on the album, Giorgio by Moroder starts off unlike any other Daft Punk song.  With somebody actually talking.  Who is talking and telling their musical life story in the beginning?  Why that's Giorgio Moroder himself!  Who is Giorgio Moroder?  Giorgio Moroder is a producer, songwriter, and song performer who's collaborated with many famous artists.  In the beginning of Giorgio by Moroder, Giorgio is telling his life story of how he got into the kind of music he wanted to make.  He also states that he wanted to "do an album with the sound of the 50's, the sound of the 60's, of the 70's, and then have a sound of the future."  Daft Punk brings his wishes to life with this 9 minute epic.  Daft Punk brings forth a futuristic sounding disco and funk clash which also sets the stage for the rest of the album.  If you're like Giorgio Moroder himself, then this song, and this album is what you've been waiting for.  Giorgio by Moroder is one of the best tracks on the album.

Track 4: Within

  Within starts off as a piano ballad which is an interesting find on an electro disco funk album.  Also, the chord progression somehow reminds me of 3 Doors Down's Here Without You.  That's what Within feels like to me, a robot playing the piano to Here Without You.  Fortunately, Within isn't without meaning.  Within tells the sorrow tale of a robot or someone looking into their past and themselves and all of that which they never did.  I have mixed feelings about Within and even though I don't mind it, it leaves an odd taste.

Track 5: Instant Crush featuring Julian Casablancas

  Instant Crush is the first track on the album to have a featured artist, and it's Julian Casablancas from The Strokes.  I expected Instant Crush to be an over-the-top song from having seen Julian Casablancas team up with The Lonely Island for Boombox, and I was surprised.  Instant Crush presents Julian's voice as more robotic, as many voices on the album are, but works well.  The opening may start off like many other 3 chord intros, but really builds up to a chorus that leaves a brilliant lasting impression.  It's also a song that has meaning and is something you can dance to.  How often is it when an artist decides they have something to say by making excessively loud and over the top electro and heavy bass music. Honestly, I'm rather pleased that Instant Crush takes itself seriously and isn't over the top.  It's like watching someone's life go by in which you can move to the beat of.  I'm really impressed and Instant Crush is one of the more powerful songs on the album.

Track 6: Lose Yourself To Dance featuring Pharrell Williams 

  Ahh Pharrell Williams.  It's so nice to see a man get so involved back into music, and it seems like he keeps popping up on my reviews.  First on my RDGLDGRN post, and now on a Daft Punk review.  As for Lose Yourself To Dance, I have similar views on this as Instant Crush.  While Instant Crush may be a bit more story-driven, Lose Yourself To Dance is funky, catchy, and demands you to well, Lose Yourself To Dance.  I'm just shocked that there's an EDM song that you can actually dance to, not have violent seizures to.  Sure it might be repetitive, but who cares?  It's funky and anyone can get down to it.

Track 7: Touch featuring Paul Williams

  Touch is where you can get a perfect introduction to the magic of Daft Punk.  The song starts off with a bizarre synth intro with Paul Williams' voice being mixed underwater as it sounds.  This video continues for about 2 minutes until Paul Williams' voice becomes more clear.  The ambience in the song fits well with his voice until the music starts to pick up until about 3 and a half minutes in when perhaps the best transition in the album and in recent memory happens.  The soothing trumpets, the jamming piano, the beating drums, all coexist perfectly to bring out the best in the song.  That's not all, in fact the song's not even halfway over.  A choir of angelic robots come to join the jam by singing "If love is the answer you're home."  Just listen as Touch conveys an unbelievable story filled with a beautiful sense of atmosphere almost entirely with music and occasionally Paul Williams' singing.  The song ends with Paul Williams joining back in the fray as you realize how moving this song is.  Touch is a good contender for my favorite song on the album and favorite Daft Punk song,, and never ceases to amaze.  Absolutely beautiful.

Track 8: Get Lucky featuring Pharrell Williams & Nile Rodgers

  Get Lucky is Daft Punk's first song to place in the top 5 of Billboard's hot 100.  I cannot agree anymore.  Get Lucky is amazing.  A few months ago, Daft Punk released a 10 second clip of an upcoming song (which was Get Lucky of course) for their upcoming album after singing with Columbia records.  I remember listening to that clip for hours, it was so catchy.  That's what describes this song, catchy.  Not just catchy, as Pharrell does some of his best singing yet, and with Nile Rodgers playing that smooth guitar riff throughout the song makes this song even better.  As for the meaning, it's pretty obvious.  Being up all night in the hopes of getting some... action if you know what I mean.  Also, it's another example of an EDM song that you can dance to.  Thank you, Gods of robotic jams, Daft Punk for giving the world this song.

Track 9: Beyond

  Beyond is just one of those titles that is an adjective that you can describe Daft Punk to a group of friends who have never heard of Daft Punk or EDM for that matter.  "Check them out, man, Daft Punk is the most Beyond group out there."  Aside from the fitting title, Beyond is another laid back disco and electro song on the album.  That's definitely not a problem, as I'd take this over most of Calvin Harris' ideals of blaring whatever you're trying to convey as loud as possible and remove all silent moments.  Beyond is a really cool song that doesn't change much, but doesn't need to.  It's fine the way it is.

Track 10: Motherboard

  Here I feel like I'm reviewing Justin Timberlake again.  This sounds very much like something he would do if Justin Timberlake was a robot of course.  It's laid back, smooth, and obviously disco inspired, much like the rest of the album, but that just makes me like Motherboard and Random Access Memories in general even more.  This song goes on for so long, but I can't have enough.  If Daft Punk made this song even 10 more minutes, I'd still listen to it and be impressed, I'm in love with the whole sound of this song and the album for that matter that much.  However, at about 3 minutes in the song shifts gears a little with what sounds like the track being haunted as it goes underwater.  Creepy.  Then all of a sudden the robot heavens open up and bring us back some more awesome electronic riffs mixed with some of what was just heard.  Motherboard stays mostly unchanged throughout the song, but still manages to evolve and continually sound refreshing which is amazing.

Track 11: Fragments of Time featuring Todd Edwards

  Wow, Todd Edwards really brings it to this song.  Fragments of Time is more of what has been brought already from the album, and still stays refreshing.  It's funky, it's disco-inspired, it's got a great singer, it's emotional, it's more of what I love about this album.  There isn't much to say, but Fragments of Time jams everything you've heard throughout the album and brings it all together to still be relaxing.  It's upbeat, it's meaningful, it's amazing and another fantastic track on Random Access Memories.

Track 12: Doin' It Right featuring Panda Bear

  Once again, there's not much to say about this song that I haven't said about other songs on the album.  It's funky, it's got a great singer, it's more of what I love about this album and really builds up.  However, this time Daft Punk bring their own robotic voices to add more texture with the vocals.  There isn't too much to say, but I enjoy it almost as much as the last several tracks.

Track 13: Contact

  This... Is... How... You... End... An... Album... Don't end an album in a boring manor, you want to leave almost how you walked in.  Contact is amazing, and I put it right up there with Touch, Give Life Back To Music, Giorgio by Moroder, and Get Lucky for best songs on the album.  It just sucks you right in and blasts you with everything you love about Daft Punk.  Contact literally sounds like a rocket launching off to not space, but to the outer awesomeness, and as the rocket sails away to venture onward, you can't help but cry as you know it will be back someday.  Also the ending sounds like the rocket is hitting warp speed or something.  Maybe the rocket crash landed, who knows?  The future is never certain.  That is what Contact leaves me with for a space voyage, the album, and even the future of Daft Punk.  Contact is an unbelievable ending to an unbelievable album.

  Not bad for an album that was recorded in 5 different studios.  Daft Punk proves once again that they know how to make Electronic Dance Music Electronic Dance Music.  EDM has been poisoned by so many who fail at provoking any thought or feeling but just jump and flop around on the dance floor.  Even though I love this album a lot, I may not have rated Random Access Memories as high if it wasn't for the fact that Daft Punk is giving life back to a genre so devoid of anything interesting for the most part.  Random Access Memories is full of surprises and knows exactly what the listener wants and delivers.  This is what I'd like to see for the future of not just EDM, but for music as a whole.  Daft Punk proves that there are still artists who pour every bit of talent that they have to make such a time-worthy album.  Lovers of 70's music, 80's music, Electronic music, and Daft Punk will find something to fall in love with in this album, and as for Daft Punk, they are Human After All.  Thank you Thomas Bangalter and Guy-Manuel De-Homem Christo.  Buy this album.

Verdict: Random Access Memories presents something for everyone, and not just that, but anyone can fall in love with this masterpiece.  Random Access Memories is a trendsetter and it deserves every bit of my highest rating for an album so far.  Final Score: 10/10.