Review
Genre and Mood
The Chemical Brothers made Star Guitar gentler than their big-beat reputation suggests. It is a post-disco house track that blooms slowly, all repetition and patience, and its hypnotic pull comes from one small borrowed guitar figure.
Song Summary
The track is built on a four-bar acoustic guitar sample from the start of David Bowie’s “Starman”, repeated through most of its length; it also uses an electronic sample of “Fly to Venus” by Electronic System. Around that loop Tom Rowlands and Ed Simons layer a Giorgio Moroder-style synth bass, bright guitars and shifting synthesizers. Nothing dramatic happens and nothing needs to: the pleasure is in hearing a few seconds of guitar turn into a four-minute groove.
Musical Breakdown
Intro: Setting the Rhythm
A steady beat establishes the pulse, and the guitar figure enters almost at once. It is the “star guitar” of the title, taken from “Starman”, and it will be there for nearly the whole track.
Build-up: Layering Sounds
Synthesizer pads and percussion come in one at a time. The guitar loop does not change; what changes is everything around it.
Main Section: The Hypnotic Core
With the synth bass in full flow, the track settles into its groove. Small additions and subtractions keep it moving, and Rolling Stone’s reviewer called it “slowly blooming” for good reason.
Bridge: Texture and Space
Midway through, some elements drop out, leaving space for the textures that remain, before the arrangement fills back in.
Climax: Peak Energy
The full arrangement returns, beats, synths and the guitar loop together, at the track’s most intense.
Outro: Gentle Descent
Layers fall away in turn until the track comes to rest.
Concepts in Focus
Star Guitar is a clear lesson in sampling. Its central sound was not played for this record: it is four bars of acoustic guitar from the opening of David Bowie’s “Starman” (1972), cut out of its original song and given a new job. Listen to how unrecognisable a familiar record becomes once its fragment is set to a new beat.
That fragment works as a loop. Repeated almost without change, it becomes the fixed point against which every other layer is measured, and the track’s sense of motion comes from what is added and taken away around it. The same principle drives Daft Punk – Harder, Better, Faster, Stronger.
The music video is one of the most studied in the form. Michel Gondry filmed the view from a train between Nîmes and Valence, ten times at different times of day, and edited it into a single apparent shot in which buildings, poles, bridges and industrial sites pass the window exactly in time with the beat, the bass and the guitar. He planned the synchronisation on graph paper and modelled the scenery with oranges, forks and tennis shoes. Watching it is a way of seeing the arrangement: each kind of object stands for one musical part.
Visual Companion
The music video for “Star Guitar”, directed by Michel Gondry, is as famous as the song. Based on footage he shot on holiday in France, it passes Pierrelatte station, Miramas and Avignon, and turns the track’s layers into a landscape. Gondry had already used the same idea of mapping each sound to something on screen in Daft Punk – Around the World. Released on 14 January 2002 as the second single from Come with Us, Star Guitar reached number 8 in the UK and number 1 on the UK dance chart, and Slant later ranked it among the best singles of the 2000s.
