I'm curious, did you feel that you wanted to make a record that included things that didn't need to be played in a club? Are there any examples of songs that you can think of that are better suited for bedroom listening or places outside of a dancefloor?īangalter: On our albums, there has always been a fraction of the record that is oriented to the dancefloor and 'One More Time' is a song like that. I noticed that not everything on the new record has that 4/4 kick necessarily. Yenigun: This is a very dance-y track with that 4/4 beat underneath. But we felt like, at least internally, we had tested the song and somehow tried its longevity internally before releasing it. But it had been made three years before, and some people are still listening to it today. While we were making the rest of the record, it sat on a shelf for almost two and-a-half to three years, and by the time the single was out in late 2000, it became the sound of 2000 or 2001. A track like 'One More Time' on our second album, Discovery, we recorded it in 1998. Sometimes we feel this thing instantly, but sometimes we like to let it rest a little bit, like wine. Yenigun: So you feel that you need to take a step back after you've taken the first step toward a song?īangalter: Yes, that's something we usually like. So that's why our creative process takes a lot of time, sometimes years making records, because we like making a song or making a track and letting it rest and seeing if it does indeed have that lasting power. It's true we wanted to create music that could fit in some timeless place or timeless zone, where we can keep a focus on an instant effect that would last. So the music on this record is really the music we wanted to make because it's the music we wanted to listen to. We aren't really making music for the audience or thinking about people's expectations. So making music for us is a very personal process. Yenigun: And this is something you wanted to bring to your record?īangalter: I think it's something we try to do in our music: We are making the music we would like to listen to. If you drop that song in any club or birthday party, people are going to fill the dance floor right away. We get the same feeling we get when we were kids, for sure. I'm curious after all these years, does it conjure up the same feelings you had when you first heard it?īangalter: It's timeless and universal music. Yenigun: So you said you were pretty young when you first heard this song. It's really what it's about and what dance music and disco music is about, which is having a good time. Yenigun: I'm curious, are there any examples of these records from that era that we can take a listen to?īangalter: 'Good Times' from Chic is definitely one of these records that we wouldn't stop listening to when we were 10 or 11 years old.

And that's the juxtaposition and the idea of Random Access Memories: the juxtaposition of different ideas, of putting a Panda Bear from Animal Collective and Julian Casablancas from The Strokes next to Paul Williams or Nile Rodgers. But we really tried to create something more composite, something that didn't really exist. Nile Rodgers and Giorgio Moroder are really the foundation for modern pop music and dance music, and we were really excited by the idea of getting with them and doing new music together, and also preserving a certain craftsmanship that we loved from these records from the '70s or early '80s that were special for us. And whether it's Nile Rodgers, or Giorgio Moroder, or Paul Williams, they are really iconic artists and iconic producers and songwriters, and it was a blast to have the ability to interact with them and. It's true that we very instinctively and spontaneously reached out to musicians that have touched us, and which we really love. We're making music like the soundtracks of our lives and we don't really associate it with a certain environment where music can be listened to in a bedroom or a dancefloor.īangalter: Not really.

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