“Give Life Back to Music” is simultaneously powerful and laid back at the same time. It’s upbeat, and it’s catchy. It sounds like something they would’ve played on Soul Train at the end of the disco era, and yet it’s crisp and original. A great song to dance to.

“The Game of Love” is your first hint that this is really Daft Punk, and not a mashup of the greatest hits of the 70's, 80's, and 90's. With a vocodor and a chill beat, this is an intimate reminder to Daft Punk fans that you’re on a journey lead by “The Robots”.

“Giorgio by Moroder”, at first listen, almost doesn’t make sense on a studio album. It starts with a two minute introduction by Giorgio himself, talking about how he got started in electronic music, and the impact his decision to use a click track and a Moog synth reshaped the face of dance music all over the world. You’re then lead into a track that is so very reminiscent of his early music, that you’d swear this was something he wrote 30 years ago.

“Within” is a track that I instantly fell in love with. It’s very simple, just a piano, a drum set, and a vocodor. Yet, this track pulls you in. It really feels like this was written and sung by “The Robots”. You feel like you’re listening to a confession from a machine, struggling to understand emotions. You really feel this track.

“Instant Crush” became an instant favorite, just like “Within”. While I’ve never enjoyed The Strokes, Julian Casablancas track has one of the catchiest choruses I’ve ever heard. It really makes me want to give The Strokes a second chance. I also really love how, just before the solo, he says, “I don’t want to sing anymore…” and that leads you into the solo. It’s a great lyric, and really draws you into the song.

“Lose Yourself to Dance” is a track that is destined to hit the dance clubs as soon as the album officially hits shelves. The beat is a little on the slow side, but just listening to the track, you can imagine yourself on the dance floor, clapping your hands at the chrous, and moving to the beat. A clear hit, and probably one of the next singles.

“Touch”, which was done through a collaboration with Paul Williams, sounds like a cross between Pink Floyd’s “Dark Side of the Moon” and, for some reason I can’t quite articulate, Cats. The first 3 minutes of the song are almost theatrical. This track, like “Within”, also evokes the feeling that you’re being pulled into the journey of emotional discovery that “The Robot” is experiencing. It also has almost effervescent touches from Discovery towards the middle of the song that you can pick up if you have a keen ear.

“Get Lucky”, the album version, is even more awesome than the single that came out two weeks ago. There’s no surprise why this was the first single of the album, and why it’s stayed at the top of the charts since its release: This is the shining star. The beat is amazing. Pharrell Williams voice is amazing. Nile Rodgers funky lines make you just feel good. This is the new Daft Punk, and it’s wonderful.

“Beyond” also became an instant favorite. The intro to the song sounds like like a movie theme - all strings and booming orchestral music. At 43 seconds in, it jumps into a funky, chill beat. This song is all about dreams. One of the best lines from this track goes, “The perfect song is framed with silence / It speaks of places never seen / It holds a promise long forgotten / It is the birthplace of your dreams”. A perfect song indeed.

“Motherboard” is more avant garde, at least for the first 30-60 seconds of the song. It’s hard to explain this track, really. It starts with an almost tribal beat, set on a snare and toms. About halfway through this track, it becomes, for lack of a better word, trippy. Very experimental.

“Fragments of Time” is reminiscent of Fleetwood Mac, the Eagles, and Lynyrd Skynyrd. There are hints of a country sound in there with a slide electric guitar, and a very crisp beat on the drums. If this was the only track you’d heard off of this album, you’d have absolutely no idea that this was Daft Punk. And yet, it fits the album so perfectly. One great bonus for this track: About 3:30 in, during the solo, you hear the very same electric guitar sounds from “Aerodynamic” on their album Discovery. It really takes you back.

“Doin’ It Right” is a dance track very much like “Lose Yourself to Dance”. The beat is mesmerizing, and the hook draws you even deeper. There’s not much else to say to explain this track without hearing it. It’s unique, even in context of this very unique album.

“Contact” is the final track on Random Access Memories, and sums up the entire album. The track starts with a conversation between one of the Apollo 17 astronauts, who spotted a UFO during their moon landing, and mission control. It then breaks into almost an almost “Phantom of the Opera” organ intro (but obviously digital), and then graduates into a high-energy, intense song that ends with what can only be called “aural chaos”. A great ending to an amazing album, and it really leaves it all out there on the stage.