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This thread is giving me flashbacks to the one on Radiohead's King of Limbs a couple years ago. Announcement by a well-regarded but infrequently-productive group, followed by (understandably) huge hype, then release and ultimately disbelief or even anger. But Daft Punk is an interesting case. Their oddly out-of-touch remarks about laptop music being heartless and cold make it hard to get on their side, even if I like a lot of the songs on this record (which I do). They got started as a failed rock band (Darlin') before their lack of success ("Daft Punk" is literally an insult levied against their attempt at rock!) pushed them into electronic music, where they earned a massive following. In light of the interviews, it feels like they had an inferiority complex all along and were just waiting to "return to instruments," denigrating the very sampling style that they helped legitimize. As a long-time fan and amateur electronic music producer myself, it's a lovely feeling, as if they're saying "we were only sampling in the first place because of a material necessity, but now that we're rich and famous gently caress you, that kind of music has no soul, man!"
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May 16, 2013 19:27
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Intel&Sebastian: I understand where you're coming from, and it's totally understandable. Personally i prefer the more euphoric 'happy' sounds than the uh cheesy alternative but i get what you mean. Just want to point out though quite a lot of harder dance music i feel is only overly-serious if you take it out of context, there's a lot of subtle humour especially in European hard dance music. It's not intended to be as serious as it sounds i guess i'm saying - that's my perception of it at least. The divide seems to even a bigger deal in America, i mean look at the type of music that caused the recent explosion in popularity in the US, brostep and the heavier electohouse sounds that's entirely humourless and totally serious to the point where it's hard to take it seriously. infinity2005 fucked around with this message at 19:33 on May 16, 2013 |
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May 16, 2013 19:31
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After hearing the album twice my take on it is that Daft Punk are really great house producers and not so great song writers. So when the experimental house production is gone you are left with some quite uninteresting disco tracks that sounds like the wet dream of every 70's disco producer. And the vocoder/talkbox stuff is really annoying at this point. I really like that they made the sound so mellow and laidback, it feels like a general movement away from the EDGY SHIIET! of everything from Blawan to Skrillex. Had the same thought after hearing the Atkins/von Oswald Borderlands leak. At the same time DP should get some credit for trying something new. When you go back to Alive there is still no arenahouse that comes close to it so bringing out a Daft Punk 2013 update would have been the easy way to go. Now I'm going back to listening to the new QOTSA (which rocks btw).
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May 16, 2013 19:31
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I think the one big elephant in the room, as far as influence on this album goes, has to be the TRON soundtrack. The experience of being handed an orchestra clearly changed something for them. The timing of that on top of the explosion of electronic music (and a style of electronic music that is more complicated and bombastic than they ever even tried to be) into the mainstream seemed to have put them in a perfect position to experiment a lot and do RAM. When I think of an analogue it'd be something like Invaders Must Die from Prodigy. It's the old guard playing with new toys, I even think it worked but in the end it didn't feel all that interesting or necessary. RAM doesn't exactly feel necessary, but it's waaaaaaaay interesting.
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May 16, 2013 19:39
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infinity2005 posted:Intel&Sebastian: I understand where you're coming from, and it's totally understandable. Personally i prefer the more euphoric 'happy' sounds than the uh cheesy alternative but i get what you mean. Just want to point out though quite a lot of harder dance music i feel is only overly-serious if you take it out of context, there's a lot of subtle humour especially in European hard dance music. It's not intended to be as serious as it sounds i guess i'm saying - that's my perception of it at least. I'm right with you there. I like most of my music with a wink in it. I don't know how I'm still a metal fan. I think even if I was let down by RAM I'd probably still be staring at it wondering if it could be "rescued". They had one album that was ahead of it's time and one album that was completely confusing to most until they showed us what to do with it, that's just insane to me. Intel&Sebastian fucked around with this message at 19:46 on May 16, 2013 |
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May 16, 2013 19:43
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Intel&Sebastian posted:the explosion of electronic music (and a style of electronic music that is more complicated and bombastic than they ever even tried to be) into the mainstream seemed to have put them in a perfect position to experiment a lot and do RAM. I'm sorry but what is this style of electronic music that's more complicated and bombastic than DP which has exploded into the mainstream? I have no clue. Intel&Sebastian posted:
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May 16, 2013 19:48
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uno.mannschaft posted:I'm sorry but what is this style of electronic music that's more complicated and bombastic than DP which has exploded into the mainstream? I have no clue.
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May 16, 2013 19:54
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ManoliIsFat posted:I think he's talking about brostep. The "complex" part being "buildup having nothing to do with the drop, four 16 random bars smashed together to make a groove" Ok, checked it out on youtube. Didn't know there was a term for terrible 5 year old dubstep. Anyway, it's neither as complex or bombastic as DP, or most music in general. I'm genuinely sorry for you if this is mainstream where you live.
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May 16, 2013 19:59
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"Hold on, if love is the answer you're home" is almost as bad as "lose yourself to dance". The lyrics on this album are unbelievably corny.
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May 16, 2013 20:00
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uno.mannschaft posted:I'm sorry but what is this style of electronic music that's more complicated and bombastic than DP which has exploded into the mainstream? I have no clue. The 2nd wave of dubstep and the kind of stuff that's being thrown behind a lot of new rap and pop divas is starting to sound like the 90's IDM I used to be into by way of John Williams these days. They're sounding like massive productions with buzzsaws and screaming synths that won't sit still for a few seconds, getting very tricky just to keep someones attention. DP tracks do things like present you with a 2-3 second groove that you didn't realize can carry a 3-4 minute song, or a series of them that go on and off at just the right moments. There's always a light touch present on something, even when they're blasting you. uno.mannschaft posted:Ok, checked it out on youtube. Didn't know there was a term for terrible 5 year old dubstep. Anyway, it's neither as complex or bombastic as DP, or most music in general. I'm genuinely sorry for you if this is mainstream where you live. You're using complex and bombastic as compliments, I'm not. I'm saying complex as in if there was an automated soundboard controlling all the electronica that's becoming the thing in America right now instead of a laptop there would be knobs and faders flying all over the place, whereas when I imagine that same situation for most Daft Punk there'd be like 3 things moving around sporadically. When I'm saying bombastic I'm talking about Poochie from the Simpsons and Mt. Dew commercials, not the impressive fun kind of bombastic. Intel&Sebastian fucked around with this message at 20:06 on May 16, 2013 |
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May 16, 2013 20:02
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Intel&Sebastian posted:
Lol they actually do use all the same synths.
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May 16, 2013 20:07
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I assumed I&S was talking about Complextro, what with it being there right in the title and all.
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May 16, 2013 20:35
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Intel&Sebastian posted:
What? I never used the words complex or bombastic as compliments. DP are more complex and bombastic than brostep, they also happen to make better music. Kraftwerk are less bombastic and complex than brostep. Guess what, they too make (made) better music than brostep. There is no value in those words as far as the quality of the music. I get that you really like this album and I'm happy for you, but some of us think it's so so and some think it's a stinker. That's music and we can still discuss a records merits or flaws.
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May 16, 2013 20:39
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Uh, if anything I've been defending people's right to hate on this album in this thread as it goes along. I don't even know what's going on with our conversation about complex/bombast anymore. I was trying to describe the lovely qualities of American dance music right now, which is overly focussed on spectacle and electronic tricks than being actual good music. I understand the terms aren't bad/good descriptors, I've mentioned I'm a Mars Volta fan a few times here so obviously I don't have a personal distaste for those qualities. Edit: Maybe it was my original statement that our poo poo music right now is more complex and bombastic than DP ever tried to be? I mean that as in: DP never needed to take things to American Dubstep levels of ADD fireworks to make people interested. They're complex and they're bombastic but they were never bad music, the electronica starting to hit our radiowaves is over the top and over produced and paper thin. Intel&Sebastian fucked around with this message at 20:57 on May 16, 2013 |
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May 16, 2013 20:52
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Intel&Sebastian posted:Uh, if anything I've been defending people's right to hate on this album in this thread as it goes along. Word, I guess I think I can agree with this.
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May 16, 2013 21:00
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Maybe I'm just used to my favorite artists making albums I didn't expect, but I still think RAM is a very cool project. I'm also a BT fan, you can imagine the reaction he received when after Emotional Technology he made This Binary Universe (polar opposites), then he made These hopeful Machines, THEN he made If the stars are eternal so are you and I (also polar opposites). I dunno if people listen to BT or not, but I have no doubt in my mind that Daft Punk is going to remix this album, and sample from it to make a heavier sound. They wanted to make music with a lot of elements to sample from, and they created something special. I think it's a very cool experiment, and I'm surprised people think not a single track is the least bit interesting. Touch in itself has so many cool moments.
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May 16, 2013 21:10
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Heavy Lobster posted:
Okay, I can definitely understand what you mean now. Amon Tobin used to be one of my absolute favorites but he's really gone off of the deep end creativey which, while I don't mind it, I really wish he could make another album as perfect as Bricolage. I fully expect him to be making musique concrete albums before that though. infinity2005 posted:Classics to who though? They just are not really relevant to a 'scene' anymore at all, and if you enjoy house music in general there's nothing really to be excited about here, it's not another Homework or even a discovery and they never will make another relevant album like that. In the interviews i read they seem out-of-touch to be honest if their comments were real, one was implying they don't even barely listen to current electronic releases. I had no idea that they didn't listen to modern electronica and house which is a shame if it's true.  I'm probably generalizing hard when I say they'll be classics but I am trying to see something redeemable in this album for the people that like and dislike their new direction. This reminds me a lot of what happened with Gorillaz's Plastic Beach and that wound up becoming one of my favorite albums of 2010, even if I wouldn't rank it anywhere near the eponymous album or Demon Days. I think this album is a good departure but I wouldn't rank it close to Discovery or even Homework for that measure.
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May 16, 2013 21:23
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about Tobin
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somnambulist posted:Maybe I'm just used to my favorite artists making albums I didn't expect, but I still think RAM is a very cool project. As someone who was super into MGMT's Congratulations, Audio Video Disco, and the bad Trail of Dead albums, I feel you. My saga of loving "Worlds Apart" by Trail of Dead even while the actual band themselves disavowed it broke me of ever thinking my own opinion on music is objective (or good) at all.
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May 16, 2013 21:25
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ManoliIsFat posted:Ha. Most of the ones I have been going to recently have been related to Fade To Mind because I have a friend that works with them. Might go to something Animal Club is putting on tomorrow (Friday) with DJ KAOS, and then next week I'm thinking about going to John Talabot at Echoplex, and then finally in June we are having a house party at my place with a few different DJs. I do like the Darkmatter stuff I have heard, I'd be interested in more for sure. Do you live in LA? My email is mikepatterson818@gmail.com, hit me up! (just realized you might know my fade to mind friend because shes posting all over your sosimple twitter) KingAsmo fucked around with this message at 21:29 on May 16, 2013 |
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May 16, 2013 21:26
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KingAsmo posted:Most of the ones I have been going to recently have been related to Fade To Mind because I have a friend that works with them. Might go to something Animal Club is putting on tomorrow (Friday) with DJ KAOS, and then next week I'm thinking about going to John Talabot at Echoplex, and then finally in June we are having a house party at my place with a few different DJs. I do like the Darkmatter stuff I have heard, I'd be interested in more for sure. Do you live in LA? My email is mikepatterson818@gmail.com, hit me up! (just realized you might know my fade to mind friend because shes posting all over your sosimple twitter)
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May 16, 2013 21:38
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There will be another audio interview here in about 2 hours: http://www.npr.org/2013/05/16/184499357/daft-punk-on-the-soul-that-a-musician-can-bring They also did a write up here: http://www.npr.org/blogs/therecord/2013/05/14/183939750/robots-in-ecstasy-daft-punks-memories-embraces-the-pleasure-principle
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May 16, 2013 21:41
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Vanderdeath posted:This reminds me a lot of what happened with Gorillaz's Plastic Beach and that wound up becoming one of my favorite albums of 2010, even if I wouldn't rank it anywhere near the eponymous album or Demon Days. I think this album is a good departure but I wouldn't rank it close to Discovery or even Homework for that measure. After a few listens to RAM I got a similar vibe of it being their "Plastic Beach album" for lack of a better description. They collaborated with a lot of different talents and while the style of the album is pretty congruent throughout it still varies enough to give a rather enjoyable experience. I get the feeling that they didn't intend to make a danceable album as much they were trying to make a statement with it after Human After All. I really enjoy it mainly because of its uniqueness in the context of everything else being made right now. It seems more like a tribute to the disco era more than a jab at current electronic artists (regardless of their comments on laptop music, etc.).
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May 16, 2013 21:43
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The more I listen to it, the more Fragments of Time speaks to me. I love it. I love it in a way that it doesn't matter that it is soooo "un-Daft-Punky." It's like a lost Stealy Dan song or something that Ween decided wasn't silly enough to go on their last disc. I can't listen to it without picturing the robots in bad Hawaiian shirts with ponytails slipping out the back of their helmets. It makes me ridiculously happy.
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May 16, 2013 21:53
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So I've been listening to this album for 3 days now. While on my first listen I was totally stunned by how new and different it sounded and I was immediately calling it the album of the year, I don't think I'd go that far after multiple listens. I still think it sounds new and very, very different for Daft Punk, and I really like it overall, but I'm not sure if I'd say it's the best album of the year. I think there are some real issues with the tracklist. Doin' It Right makes next to no sense being the second-to-last track on the album. Contact almost doesn't feel like it should be on the album at all, since it's so tonally different from every other track on here (though I dig the hell out of it...it sounds like one of M83's hyper energetic songs like Moonchild or Teen Angst, but somehow it gets me even more pumped up than those). Touch is a hell of a track, but it feels like it should be the second to last track rather than Doin' It Right with something short-but-sweet following it to end out the album. That being said, I still love the album and I feel like it's one I'll be listening to forever. If I ever have kids, I feel like this is one of the first albums I'll expose them to. While it's not really an electronic album and shouldn't be treated as such, it's a joy to listen to and it incorporates lots of different styles, most of them from decades past. And there's some sense of follow-up here, like some of the tracks sound like the themes of the TRON: Legacy soundtrack incorporated into one of DP's studio albums. Giorgio By Moroder has some of that in it, as an example. Also, while on the topic of Giorgio By Moroder, that track has some insane loving drumming in it, as does the whole album really. Contact is another notable example of that. I read some posts on here of people saying the drumming sounded like that of demo songs that ship with DAWs, and I don't feel like that at all. I guess I could see how someone could think that way, but I feel like the live drums add a lot to the experience. The whole album feels much more live overall than it does electronic, so they definitely achieved what they were going for. I'm probably rambling now. Anyway, I think it's a timeless album but I wouldn't call it the best album this year, if that makes sense. I do kind of hope that this is just a one-off for them and that their next album returns to them doing the electronic thing again, albeit maybe in different ways since they don't like to repeat themselves. Thomas said in the outtakes of their Pitchfork cover story that Music Sounds Better With You was destined to be a one hit wonder and that Stardust never worked together again in that context after that because they knew they'd never be able to replicate their first hit and it would just sound sad to try and do so. I feel like that should be applied here as well. Not that Daft Punk should never work together again, but that they shouldn't try to replicate the sound of this album in the future. It worked this once (with some issues here and there), but that doesn't mean it'll work again. Rageaholic fucked around with this message at 22:51 on May 16, 2013 |
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May 16, 2013 22:49
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Yeah someone has already said what I've been thinking every since I listened to this album a few times. They are going to remix the hell out of it and make most tracks dancey as gently caress. Then they will go on a mega worldwide tour, rake in the dough, and everyone will be praising them as utter genius for releasing RAM in that manner.
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May 16, 2013 23:00
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RageMonkey: On the last couple of spins through I really zeroed in on "Motherboard" and it makes me want to hear the orchestral stuff that didn't make it in, or just more of that style. I really dig the TRON soundtrack but it's not exactly the most varied work in the world. I also don't expect them to return to this kind of album but there's a lot of motifs here where I wish they would show us what else is down that alley. Kind of sad that it's very unlikely.
Intel&Sebastian fucked around with this message at 23:03 on May 16, 2013 |
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May 16, 2013 23:01
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Intel&Sebastian posted:RageMonkey: On the last couple of spins through I really zeroed in on "Motherboard" and it makes me want to hear the orchestral stuff that didn't make it in, or just more of that style. I really dig the TRON soundtrack but it's not exactly the most varied work in the world. I also don't expect them to return to this kind of album but there's a lot of motifs here where I wish they would show us what else is down that alley. Kind of sad that it's very unlikely. Oh yeah, Motherboard was the other one I was thinking of that screamed TRON: Legacy to me. I was trying to think of it while typing that post and I couldn't think of it. Thanks! Yeah, I love the TRON soundtrack, but it feels more like a soundtrack than a studio album, as it should I guess because that's what it is. But here we get to hear more fleshed out versions of those same sorts of ideas they explored on that album that are presented in a more album-friendly manner. And I agree. It would be cool if, say, their next album is much more electronic but has some live drumming, or like Niles Rodgers collaborating with them to make riffs that they could convert into electronic sounds.
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May 16, 2013 23:10
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Yeah they need to lock Nile Rodgers down. Give him his own helmet or something. His little popping run on the riff at the very front of Get Lucky is so loving cool.
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May 16, 2013 23:17
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It seems like whatever he touches on this album turns to gold. Give Life Back To Music, Lose Yourself To Dance and Get Lucky are some of the strongest tracks on here, and it's primarily due to him being able to write insanely catchy stuff. Also, I should note that I think a lot of this album sounds like a modern interpretation of a soundtrack to some coked out 70s musical, which I'm totally okay with.
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May 16, 2013 23:22
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DP are allegedly in talks with someone about rights to Phantom of the Paradise. They cite it as one of their most watched movies of youth. I can see how this might all tie in to a greater transmedia entity...( but that doesn't make me like the album any more.)
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May 17, 2013 00:23
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I'm assuming we would've heard by now if this album synchs up to Electroma, right? I know the run times for both looked almost the same but I wasn't trying to start them at the same time when I had them both on.
Intel&Sebastian fucked around with this message at 00:40 on May 17, 2013 |
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May 17, 2013 00:36
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I was looking forward to this. Daft Punk is a group I really like and respect. They could seem to do no wrong, not because I was looking through rose coloured glasses but because they were genuinely GOOD. Lots of dance/techno type music is repetitive, derivative and generally bland. DP seems to find a real catchy vibe and push all the right buttons. Homework was a good album for me, not too exceptional but in the dance world, it was a notch above the norm. Discovery was absolutely brilliant. Here were a bunch of songs that all had unique sounds but still fit together as an album. They were catchy and well made. There were just so many classics and stand outs and things just worked. It's a beautiful example of how to make soulful digital dance music that never devolves into that Tiesto-eque trance garbage. The songs were very well put together, they didn't just sound good, they were landmarks in electronic songwriting. Human After All was also amazing. I don't think much can top Discovery but HAF tried and got drat close. It was also a different and interesting sound. They totally embraced the repetitive nature of their genre and made it work. Take the last track Emotion for example, despite having 1 word repeated over and over, it comes off as extremely emotional and really, that's the definition of soul for me. For a completely electronic and dance-y style to both the sound and the song structure, the album hits emotional nerves again and again. Emotion FEELS like a robot in love. Steam FEELS like an angry battle tune. Prime Time/Brainwasher is scary and creepy in very human ways. Now there's this. I'm really, really disappointed. The phrase 'jumped the shark' just keeps popping into my head. It seems like all the things that made Daft Punk unique were traded out for a generic 70s band. All that's left is vocoders and really that was never the defining thing about Daft Punk. It was cool but it wasn't what made the group special. A lot of the songs here feel too laid back. Mellow is cool and all that but this is just too uninteresting. The riffs/loops sound phoned in where as before they were razor sharp. The album sounds a like it was a B-sides collection cash-grab released by their record label after Discovery hit it big. Give Life Back To Music comes off as a bunch of attempts at Get Lucky that didn't work tossed together. Game Of Love is corny enough that it would have worked well during the credit roll of Far Cry 3: Blood Dragon, which isn't that great of a compliment. Who the gently caress thought that having some history dialogue over Giorgio by Moroder would be a good idea? The synth riff that the song is based around is pretty bland and nothing to write home about also. The solos and build ups in it are also cringe inducing. Discovery showed us that you didn't have to be super serious all the time but this is just tacky as hell. Giorgio does have a cool sounding ending but that's about all. Within is exactly what I did NOT come to Daft Punk for. When I would rather listen to Barbra Streisand, you know you've hosed up as a pair of robot house revolutionaries. If we're going for that 'staring out a window while it's raining' feel, there are so many songs that do it better. I can dig that they are trying something new, I love something new, but this was not a success. Instant Crush is a decent song. Both DP and the Strokes have made much better but it's not terrible by any means. Lose Yourself To Dance is where things finally get good for me. The chord progression is tasty as hell even though the whole 'here take my shirt and just go ahead and wipe up all the sweat' lyric is VERY awkward. That is forgiven when the vocals start layering on top of each other and suddenly I'm listening to the real Daft Punk sound again. It's full, catchy, memorable and just all around enjoyable. It's among the very best of this album and it comes very close to the quality of Discovery. Touch is poo poo. Seriously, skip to around 3:50 and pretend you just heard that on the radio with no clue who it was. You'd change the station. I sure as hell would. Get Lucky is the other stand out along with Lose Yourself. We all know what it sounds like. It's nice, fresh, catchy, solid. Beyond comes back to the opening salvo of boring, unfocused filler. Motherboard has some cool percussion and reminds me very much of Division Bell by Pink Floyd, a sound that I'm not super crazy about but there is worse out there. Fragments of Time is more unfocused weirdness with the odd electronic guitar slide sound that is a bit unbecoming. Doing It Right is doing it right for the most part. The repeating titular lyrics are an example of a good base for a song that a lot of stuff on this album is just missing. You can feel this song and it feels good. This is one of the 3 or 4 songs of any value here. Contact is gonna be great remix material but little else. The synth riff is just pathetic for Daft Punk and sounds like it was picked after about 5 minutes of plonking around on a keyboard. Oi. I so want to like this album but I really can't. I'd be in complete denial if I said it was great or anywhere on par with their other work. Listen to this mixed with tracks from Discovery or Human After All and it's evident. I blame the whole 70s influence crap that we were hammered with during the whole 'contributors' thing. It's not a great sound. It never was a great sound. I should have known something was up when Donna Summers kept being brought up as mind blowing. I mean Donna loving Summers? What the loving gently caress? The only excuse for liking that poo poo is being high as gently caress on coke and having recently liberated your homosexuality. I just.. I dunno. I'm a sad panda.
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May 17, 2013 00:38
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Can people with incredibly shallow understandings of disco and electronic music in general stop making dubious, sweeping statements like this:quote:Homework was a good album for me, not too exceptional but in the dance world, it was a notch above the norm. or this: quote:Lots of dance/techno type music is repetitive, derivative and generally bland. or this: quote:I was trying to describe the lovely qualities of American dance music right now, which is overly focussed on spectacle and electronic tricks than being actual good music. or this: quote:It never was a great sound. I should have known something was up when Donna Summers kept being brought up as mind blowing. I mean Donna loving Summers? What the loving gently caress? The only excuse for liking that poo poo is being high as gently caress on coke and having recently liberated your homosexuality. Anyways, I went back and listened to Homework again and it's still really good.
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May 17, 2013 00:44
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Right because it's not like the vast majority of Daft Punk's output was already massively influenced by 70s music?? And if you don't think I Feel Love is a jam I'm kind of curious what you actually got out of Daft Punk's older work...
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May 17, 2013 00:45
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Thought the album was nothing special. Oh well. Also Donna Summer is cool.
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May 17, 2013 00:55
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Guys I can't stop listening to this album. I love it, but I also can understand big time fans being let down. I didn't know what I was looking for, but I found it. Giorgio by Moroder is my favorite track. Chills at 8:22, every time.
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May 17, 2013 00:59
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Pitchfork has named a second track for RAM as "best new music" - Doin It Right. I think this album will get the de facto 8.0-8.3 that they give mediocre albums which they feel obligated to score highly either due to their own prior endorsements or because they're being paid to do so.
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May 17, 2013 01:10
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Pitchfork wouldnt be the first site to give it a glowing review, currently RAM is much higher on metacritic then any of their other albums. Human After All is at 57, and Discovery at 74. RAM is currently at an 89.
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May 17, 2013 02:22
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thathonkey posted:Pitchfork has named a second track for RAM as "best new music" - Doin It Right. I think this album will get the de facto 8.0-8.3 that they give mediocre albums which they feel obligated to score highly either due to their own prior endorsements or because they're being paid to do so. Not to derail this thing to a Pitchfork discussion, since I know this is neither the time nor the place, but do you really think Pitchfork would give a rating based on cash deposits?
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May 17, 2013 02:46
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| # ? Jun 1, 2024 01:36 |
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CannedMacabre posted:The more I listen to it, the more Fragments of Time speaks to me. I love it. I love it in a way that it doesn't matter that it is soooo "un-Daft-Punky." It's like a lost Stealy Dan song or something that Ween decided wasn't silly enough to go on their last disc. I can't listen to it without picturing the robots in bad Hawaiian shirts with ponytails slipping out the back of their helmets. It makes me ridiculously happy. Fragments of Time is my summer jam, realtalk. Y'all can keep your Get Lucky 
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May 17, 2013 02:52
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