As pop music, as well as the industry overall, continued its love affair with Auto-Tune, more backlash built. Even though they had their rise with digitally enhanced melodies, “…Daft Punk staged a back-to-analog recantation with 2013’s Random Access Memories: In interviews, Thomas Bangalter exalted live musicianship and complained that Auto-Tune, Pro Tools, and other digital platforms had ‘created a musical landscape that is very uniform.’” (Reynolds). Taylor Swift used Auto-Tune on 2014’s “This Love”, and critics seemed split on the topic. Some said, “she chose to arrange and produce them as if they were performed live in the studio by androids designed to entertain human beings with absolute precision” (Linker). However, others interpreted it as “Having played with this kind of cyborgian production on the singles from her previous album, Red, Swift goes fully prosthetic here, in ways that make her singing more emotionally rich, not less” (Powers). This divide in the perception of Auto-Tune was accentuated as Ryan Adams took a stab at recreating Taylor Swift’s 1989 album without any of the software, and critics said, “While Swift's pop ambitions lead her to use technology to achieve ethereal, pristine, technical flawlessness, Adams works firmly within rock 'n' roll's more purely populist vision that treats imperfection as a virtue” (Linker). Though Auto-Tune had its defenders, by 2014 its scrutiny may have reached an all-time high.