That said, it would be rash to accuse Daft Punk of biting the Virgin hand that feeds it, or to say that Interstella 5555 exists purely as a careful subversion of the record industry's supposedly shifty practices. The record industry and its stereotypical abuse of the artist comprises the main topos of Interstella 5555, and indeed the main antagonist, Earl de Darkwood, is a perfectly stodgy, heartless profiteer who cares less about supporting music and artists than racking up enough gold album awards to- so the plot goes- conquer the entire universe. For the song, Matsumoto chooses to highlight the simple mechanics of the factory machines operating on the band, offering a formidable interpretation of the song's robotic lyrics and commercial implications. His facility reveals itself right away, as the band is kidnapped to the moody second track Aerodynamic, and perhaps most perfectly during "Harder, Better, Faster, Stronger", as the band is systematically dismantled, reprocessed, and spit out onto Earth as The Crescendolls. Matsumoto does not have any of the Crescendolls speak thereafter, and since the track sequencing has more or less been determined, the burden is on him to communicate the story entirely through his animation and its interaction with the music as it changes tenor. The words themselves do not correspond perfectly to how they're mouthed, lending a certain vulnerability to the characters that stays with them throughout the musical. Scenes follow the sequence and corresponding moods of Discovery's original tracklist the opening concert scene of "One More Time" boasts lush Jem-rock colors and, more interestingly, what seems to be Matsumoto's first bout with animating characters who speak English. Each of Interstella 5555's character betrays the different styles of animation Matsumoto has taken up throughout his career, and Stella, the female guitarist and lead heroine, is practically a scarless Emeraldas.
#DAFT PUNK SONGS INTERSTELLA 5555 SERIES#
The 66 year-old, who was awarded the Japanese Cultural Award in 2001 for outstanding national contribution (Matsumoto is responsible for 25 years of film productions, including Galaxy Express 999, Arcadia, and Star Blazers, which, after Akira, are some of the country's most revered anime), legitimates Interstella 5555 as a serious anime film, replete with subtle intertextual references to other series and Matsumoto's own work. For the uninformed, it's worth noting how enormous an accomplishment it was that Daft Punk were able to enlist Matsumoto. The project was an ambitious undertaking for both Daft Punk and Matsumoto, who were forced to communicate through a bilingual friend. Ultimately, Daft Punk intended Discovery to be heard in the context of Interstella 5555, and it's no wonder: Matsumoto's animation enlivens some of the less formidable tracks, and the details of scenes in Interstella 5555 often are inspired by the music itself. The videos for "One More Time" and "Harder, Better, Faster, Stronger", which had both seen a fair bit of MTV rotation around the time of the album's release, were not simply clever vignettes for the songs, nor was Discovery purely a film score- in fact, Interstella 5555 makes clear the degree to which each influenced the shape of the other. Like Pink Floyd's The Wall, the music for Discovery and the storyline for Interstella 5555 were conceived simultaneously.
0 kommentar(er)
