When it was announced that the French electronic duo Daft Punk would be scoring the hotly anticipated sequel to Tron, the elephant in the room was whether this was “stunt casting” on the part of the producers or a legitimate attempt to infuse something unique into the film’s soundtrack. One could argue that Disney made a similarly unusual choice in Wendy Carlos, the composer of the original film. While it’s true she was a Hollywood outsider, she did have a proven track record of fusing electronic music with a classical orchestra. Daft Punk on the other hand were primarily known for their infectious, sometimes maddeningly repetitious dance music and their eccentric stage shows.

I’m sure there was a strong expectation from many that the pair would simply fill an album with throbbing techno and call it a day, but their music for Tron: Legacy proves to be more subtle and sophisticated. What is immediately surprising is how conventional some of the score is, at least in a modern context. In the three decades since the original film, electronic music is no longer new or novel, and it has unquestionably been “mainstreamed” in the Hollywood film score by the ever growing army of Hans Zimmer protégés. In fact, large chunks of the score sound like they could have by written by Hans Zimmer.

Starting with the anthemic “Overture”, it’s clear the Punk don’t intend to fall back on their dance music heritage. Instead we get a slow, grand theme for horns accompanied by full orchestra and a hint of synthesizer. The theme is repeated in “The Grid” (which loses points for the intrusive Jeff Bridges voiceover – why, Disney, why?) except now fully synthesized. This sense of classicism also pops up in the gorgeous baroque dirge “Adagio for Tron” and the Finale, which reprises the main title theme.

Even with these traditional flourishes, Daft Punk’s strongest assets are still their compact melodies and trademark syncopated grooves. Tracks like “Derezzed” and “End of Line” (my favorite on the album) are positively danceable pop confections that dare you not to bob your head as you watch the light cycles whizz by. “Nocturne” and “Solar Sailor” are sly nods to Daft Punk’s electronic forefathers, sounding a little like mid-Eighties Giorgio Moroder or Tangerine Dream.

Because of their pre-existing fanbase, Daft Punk’s contribution has attracted an unusual amount of attention for a film score, even getting frequent mention in the film’s ubiquitous promotional campaign. Those reviewing it as a Daft Punk album seem to feel that it falls short of their previous work. As a film score it is neither as quirky or as iconic as Wendy Carlos’ score for the original Tron, but the icy slick sound the duo have crafted match the black glassy visuals of the new film perfectly.