“Lose Yourself to Dance” is the second single, also featuring Pharrell. What is the statement of that song?
WILLIAMS: “Lose Yourself to Dance” makes me feel like walking down the street in the middle of the night in London and it’s 1984, 1985. I don’t hear ’70s in that at all. For me, it doesn’t sound at all like a Bowie record, but I feel like David Bowie would have loved that record. He could actually sing it.
BANGALTER: We’re trying to define—or redefine—what dance floor music can be. Whether it’s something lighter or something more primer. “Lose Yourself to Dance” is almost this idea of a timeless place or dance floor where you can lose yourself. The idea of unity of the dance floor, people being connected.
Have you been out to clubs lately? Often in America, does it seem to be about standing around and popping bottles rather than dancing?
WILLIAMS: It’s a completely different culture, but that’s okay. That’s what evolution is about. You add “r” to the word “evolution” and you get “revolution.” It’s a revolution, spiritually... It starts somewhere, and we’re at the time [right now] where it shifts. I said it a couple of years ago, people don’t want to think anymore—they just want to feel. And that’s where we are.
BANGALTER: For us it was really interesting to say we’re doing this dance music, or dance floor jam, but it’s all handmade. “Lose Yourself to Dance” is important—it’s another statement, maybe it’s different than “Get Lucky”—but it’s more essential and original. It’s really about what dancing is—people interacting and what the dance floor is. In the same way that “Drop It Like It’s Hot,” where you hear the sounds and are like, “Wow!” It’s interesting to experiment what the dance floor can be. Like, how can you be turned into the act of dancing at a time where dance music is done with a drum machine and computers? There’s not a point to challenge that. One of the important things for us in this record is that it’s done with live musicians and it comes out at the time in dance and pop music where no one does that. It’s this idea of ice cream flavors where everybody is eating strawberry ice cream. We’re not saying strawberry ice cream sucks, but that there’s room for other flavors. We’re also not saying we don’t like strawberry ice cream, we only like vanilla or chocolate. There’s really this thing where dance music has gotten so big, but it cannot crash pop music so it became pop music. It took one direction, and that direction became that single flavor. It’s really important that we contain different flavors on the dance floor. It’s not about saying that flavor is not good; the thing that’s not good is that there’s only one [flavor] and that no one, especially the musicians, are questioning that.
What about outside of dance music?
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