Album Review: Giorgio Moroder – Déjà vu

Déjà vu by Giorgio Moroder

#aotd is Déjà vu by Giorgio Moroder. This album implements mainly modern EDM tropes but is sprinkled with hints of old school disco elements, especially with the use of digitally altered guitars. Giorgio Moroder’s name was brought back into the public domain in 2013 when Daft Punk featured the Italian producer on a track off their hugely successful comeback album Random Access Memories. Perhaps this album is an attempt to cash in on Giorgio’s name before it fades back into obscurity? Or maybe just an attempt to keep the name relevant? No matter what the reasoning was behind this album, someone needs to go back to the drawing board, because this is nothing short of a travesty. You’ll notice I am struggling to attribute this album back to Giorgio himself, this is because it is so hard to believe that this is his work. Déjà vu only captures the sound of Giorgio in the most aesthetic and shallow ways. Throwing in some Daft Punk-esque guitars here and there or the robotic voice on “Wildstar” fails to capture the magic of his 70’s work. Everything else is held up by beats that are completely bland and sterile at best and fucking embarrassing at their worst. “74 Is The New 24” may be the most ironic track title of 2015 as all the dated sounding synths and ridiculous dance breakdown proves is how out of touch Moroder is. With the songs receiving no notable support from their credited producer their quality relies solely on what the vocal guests are able to do with them. Unfortunately, some of these guests fall flat and that is not their fault at all because they are given nothing to work with. When you have the likes of Sia, Kelis and Charli XCX on your song and you are still failing to craft anything of merit then that is your fault, not the performer’s. “Right Here, Right Now” with Kylie Minogue might be the only track that 100% works thanks to the fitting production and Kylie’s over the top performance. For every acceptable moment though, there is one like the shockingly bad cover of “Tom’s Diner” with Britney Spears that is just unnecessary in every sense of the word. If this is all Giorgio Moroder has to offer in 2015, then he should have stayed in obscurity.
Rating: 1.3/5

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