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DAFT PUNK "TRON LEGACY" (WALT DISNEY RECORDS) |
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Oh, holy nerd! As Christmas season rolls around this Tron-atic is basking in the afterglow of seeing "Tron Legacy" - which built brilliantly on the original, actually surpassing it and even touching on the cerebral. Part of his basking was the purchase of the "Tron Legacy" soundtrack by Daft Punk. The music was the perfect aural companion to the film itself, but it also stands alone as a magnificent electronica release. Daft Punk have securely situated themselves at the top of the ladder of techno genius; they hold their position with feet of steel until somebody can better "Tron Legacy." It may seem silly to those of you whose geekdom doesn't extend into the Tron universe for me to fawn so shamelessly on the soundtrack to a Walt Disney sequel to an improbably but consummately fascinating (and pioneering) 1980s sci-fi film, but other than an arguably shallow story about deep ideas, the symbolism, archetypalism, digital anthropology, existential speculation, mysticism, mushroom-ready visuals, Jeff Bridges, awesome action sequences, surprisingly fitting quiet and thoughtful sequences -- but there I go nerding all over you - and about the movie, not the soundtrack. Look, it's like digital mysticism for dummies in the form of a really terrific movie and this soundtrack - by the widely revered Daft Punk, no less - captures all of that. The ebb-flow of musical waves in this almost seem to transcend organic sensory hearing and that ripple across the forehead and wash around and through the body-mind like a wormhole in the anthill of all existence. The movie: It belongs to that elite cabal of cerebral sci-fi movies that includes "2001", the first "Star Trek" film, the first "Matrix" and so on. The score by Daft Punk: All of the aforementioned condensed/expanded/unified into divine sound OM ... I feel things hearing this CD I typically only feel on a trip. Here's a Tron trip. Best. Album. Ever. More than five stars, five stars plus the square w00t of WTF divided by infinity. Or something like that.-- review by Kristofer Upjohn
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