Clu is a program made to run a digital world in some other dimension when Flynn, the creator of that world, canвЂ™t be there himself as he has to go back and forth between this reality, and that.Д«ut this young face is also used in the filmвЂ™s opening scene, what is meant to be Flynn, many many years ago, telling a story to his young son. For most of the film, this younger face is on a character named Clu. That didnвЂ™t stop the folks at Disney from attempting to graphically recreate a younger face for him, in the filmвЂ™s sequel, titled TRON: Legacy. So has its star, Jeff Bridges, you may know his character as Flynn. But it's hard not to expect more from Daft Punk, even with how often they've missed in the last decade.The world has changed considerably since DisneyвЂ™s original TRON was released in 1982.

No one expects much from Paul Oakenfold these days, so it's a pleasant surprise here. The best you can say is that Legacy Reconfigured is less disappointing than Legacy itself. In any event, taken as a whole, what we're left with is a solidly middle-of-the-road project building off a solidly middle-of-the-road movie score. Who knows, maybe the new jacks were cowed by working with material from a group they consider a formative influence rather than just peers. Oddly, many of the weakest remixes are by younger producers, like Teddybears' 'Adagio For Tron', which could be any squelchy and interchangeable French dance single of the past five years.

Plenty of these remixes are just inert filler. Unfortunately, Legacy Reconfigured can't keep that intensity up across a whole disc. Much of Legacy Reconfigured is what many of us were actually hoping for from the actual Legacy score, and from Daft Punk in general: grandiose electronic pop full of bombastic hooks, without the genteel orchestral touches that felt like a lame cop to Hollywood tradition. The Crystal Method's redo of 'The Grid' is cheesily anthemic and unabashedly big in a way that's sadly rare these days, and Oakenfold's 'C.L.U.' has a sturm-und-drang epicness that the original soundtrack approached rarely. The best tracks here are hugely unsubtle pop-dance tunes with big acid-meets-electro riffs- in other words not too dissimilar from from what DP were peddling circa Homework. If Daft Punk shaped a lot of the past 10 years, whether via indie kids glomming onto Discovery or brutalist dance-rock producers picking up from Human After All, much of Legacy Reconfigured seems sonically stuck in the late-90s era of super-clubs and 'all-star' remixes on CD single. From Paul Oakenfold to Photek to Moby to the Crystal Method, it's full of names whose best work (using the phrase very loosely in some cases) is a decade or more behind them. The list of remixers sure doesn't inspire much confidence, at least if you're not afflicted by a serious case of 1990s nostalgia. TRON: Legacy Reconfigured succeeds as much as most remix projects do, which is to say about 50% of the time, and without Daft Punk's name attached to the project it's doubtful it would have attracted much attention. Not so much fun to listen to minus the film's visual razzle-dazzle, and primed for creative remixers to turn the results into something closer to pop. And while the symphonic elements of the TRON: Legacy soundtrack made it very different from Human After All, as a home-listening prospect it played out in much the same way. A slick pop science fiction film, with a Disney-sized budget lavished on its special effects, would surely provide their lushest visual accompaniment yet. When it was announced that DP would be recording the score for the TRON reboot, it seemed like the natural next step in the duo's 21st-century trajectory.

Here then is an album that combines the two. Given their lack of interest in making pop records now, it's been unsurprising that much of Daft Punk's activity over the last half-decade has been about crafting raw material for remixing (including masterfully remixing themselves on 2007's live-album-meets-DJ-mix set Alive) and the cinema (including their foray into art-house territory in Electroma from 2006).

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