For years, the implied promise of electronic music was that it was the sound of the future, from Walter/Wendy Carlos to Bruce Haack to Kraftwerk and beyond. The irony is how quickly visions and sounds of the future slide into a sort of retro futurism, and how easily a song's time period can be identified based on its electronic elements. Today, the sleek, icy, robotic textures of French EDM pioneers Daft Punk sound quaint next to the arena rock-scaled squiggles and groans of contemporary dubstep, and Earl Scioneaux III - The Madd Wikkid - heard a way to give them new life.