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Electro - Released May 17, 2013 | Columbia

Hi-Res Booklet Distinctions 4F de Télérama - 5 étoiles Rock and Folk - The Qobuz Ideal Discography - Pitchfork: Best New Music - Exceptional sound - Hi-Res Audio
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Dance - Released March 7, 2001 | Parlophone France

Distinctions The Qobuz Ideal Discography
Four long years after their debut, Homework, Daft Punk returned with a second full-length, also packed with excellent productions and many of the obligatory nods to the duo's favorite stylistic speed bumps of the 1970s and '80s. Discovery is by no means the same record, though. Deserting the shrieking acid house hysteria of their early work, the album moves in the same smooth filtered disco circles as the European dance smashes ("Music Sounds Better with You" and "Gym Tonic") that were co-produced by DP's Thomas Bangalter during the group's long interim. If Homework was Daft Punk's Chicago house record, this is definitely the New York garage edition, with co-productions and vocals from Romanthony and Todd Edwards, two of the brightest figures based in New Jersey's fertile garage scene. Also in common with classic East Coast dance and '80s R&B, Discovery surprisingly focuses on songwriting and concise productions, though the pair's visions of bucolic pop on "Digital Love" and "Something About Us" are delivered by an androgynous, vocoderized frontman singing trite (though rather endearing) love lyrics. "One More Time," the irresistible album opener and first single, takes Bangalter's "Music Sounds Better with You" as a blueprint, blending sampled horns with some retro bass thump and the gorgeous, extroverted vocals of Romanthony going round and round with apparently endless tweakings. Though "Aerodynamic" and "Superheroes" have a bit of the driving acid minimalism associated with Homework, here Daft Punk is more taken with the glammier, poppier sound of Eurodisco and late R&B. Abusing their pitch-bend and vocoder effects as though they were going out of style (about 15 years too late, come to think of it), the duo loops nearly everything they can get their sequencers on -- divas, vocoders, synth-guitars, electric piano -- and conjures a sound worthy of bygone electro-pop technicians from Giorgio Moroder to Todd Rundgren to Steve Miller. Daft Punk are such stellar, meticulous producers that they make any sound work, even superficially dated ones like spastic early-'80s electro/R&B ("Short Circuit") or faux-orchestral synthesizer baroque ("Veridis Quo"). The only crime here is burying the highlight of the entire LP near the end. "Face to Face," a track with garage wunderkind Todd Edwards, twists his trademarked split-second samples and fully fragmented vision of garage into a dance-pop hit that could've easily stormed the charts in 1987. Daft Punk even manage a sense of humor about their own work, closing with a ten-minute track aptly titled "Too Long." ~ John Bush
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Dance - Released January 16, 1997 | Parlophone France

Distinctions The Qobuz Ideal Discography
Guy-Manuel de Homem-Christo and Thomas Bangalter, the two French twenty-something DJs who make up Daft Punk, are relentless dance music aficionados and historians. And unlike many of their contemporaries, their interests don't just lie in the electronic beats that have been rockin' the clubs since the mid-'80s. The two knob-twiddlers are just as well-versed in Giorgio Moroder's Euro-disco grooves, Chic, and the old-school rhythms of Afrika Bambaataa and the Sugarhill Records catalog as they are in the Chicago house and Detroit techno traditions. When they're not assembling catchy-as-hell bits of electro-pop ("Around the World"), throwing down slabs of minimalist funk ("Da Funk"), or marrying Miami bass to Kraftwerk-ian blips ("Oh Yeah"), Homem-Christo and Bangalter try to impart a little knowledge. On "Teachers," they use a Ween-esque distorted vocal line to name-check a broad list of influences who includes Brian Wilson, Dr. Dre, and Armand Van Helden. Their broad focus, utopian determination, and, of course, their way with a beat earn Daft Punk's Homework a well-deserved 'A'.
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Dance - Released November 16, 2007 | Parlophone France

Distinctions Pitchfork: Best New Music
Timed to perfection, Daft Punk's second live album landed exactly ten years after the first, and provides a fitting complement to Alive 1997, easily the best live non-DJ electronica record ever released. While the original featured only a handful of tracks (but found them transformed and tweaked ad infinitum), Alive 2007 is packed with productions, most of them short and many of them getting a big crowd response (all recorded at one show in Paris in June of 2007). As on their first two classic full-lengths, Thomas Bangalter and Guy-Manuel de Homem-Christo display excellent crowd control, pacing the record well, spacing the hits, and building the mood like the good crowd-pleasers they are. (The visuals included in the regular and deluxe editions reveal quite the stage show as well.) It has the feel of a greatest-hits-live concert, but energized by Daft Punk's talents at weaving songs in and out of each other. Even songs from the comparatively desultory Human After All sound rejuvenated in context, with "Robot Rock" getting the show off to a rousing start. It may not be better or stronger than the original Alive 1997, but it's definitely harder and faster. ~ John Bush
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Electro - Released April 19, 2013 | Columbia

Hi-Res Distinctions Hi-Res Audio
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Electro - Released July 3, 2013 | Columbia

Hi-Res Distinctions Hi-Res Audio
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Film Soundtracks - Released January 1, 2010 | Parlophone Catalogue

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Dance - Released March 14, 2005 | Parlophone France

Daft Punk has always been one of dance music's most flexible -- and accessible -- acts, spanning the relentless pulse of Homework and the lush, sprawling Discovery with a distinctive wit and playfulness that made fans of electronic music diehards and indie rockers alike. Though the long-awaited Human After All retains that playfulness, it's the duo's simplest album, which oddly enough, makes it their most difficult to embrace at first. Human After All was made in six weeks, and sounds like it -- and not always in a good way: the quick-and-dirty recording process and limited palette of grainy synths, vocoders, and guitars do lend a stripped-down, spontaneous feel, but just as often, this minimal approach feels like it's supporting minimal ideas. Most of Human After All's tracks concentrate on one or two heavily repeated motifs, giving some of the tracks the feeling of demos copied and pasted to a full song length (even more uncharitably, you could say that they sound like parts of a Daft Punk beats-and-loops construction kit). "Steam Machine," for example, starts off strong with a low-slung, low-rent drum machine beat and aptly hissy whispering, but fails to do much over the course of five minutes. Repetition and simplicity, or at least a certain kind of innocence, have been at the heart of Daft Punk's music since the beginning, but this formula doesn't always work on Human After All; this is particularly true on the album's softer songs, "Make Love" and "Emotion," both of which are pretty and evocative, but never quite pack the emotional punch that they threaten to. And though Human After All's linear quality is superficially like the duo's more danceable work, many of the tracks are too slow to ignite the dancefloor (however, "Television Rules the Nation"'s robotic, "Smoke on the Water" meets "Iron Man" guitar riff nails the cleverly stupid vibe that doesn't always connect on the rest of the album). All of this makes the album something of an odd beast, and the baffled reactions of some fans -- some of whom suggested that Human After All was a fake album by the band made to foil digital piracy when it leaked several months before its official release date -- is understandable. Daft Punk aren't responsible for their listeners' expectations, but they release music so rarely that this low-res album with just ten songs (or nine, if you don't count the 19-second channel-surfing blip that is "On/Off") does, initially, feel like a disappointment. However, Human After All's best tracks do make the duo's somewhat confounding aesthetic choices work: "The Brainwasher"'s trippy opening and mischievous riffs have a real sense of tension and momentum; "Robot Rock" takes Discovery's guitar worship even further, forging it into cybernetic metal; and the irresistible "Technologic," with its catchy technobabble and cheap-and-cheerful disco beat, feels like the next evolution of tracks like "Teachers" and "Harder, Faster, Better, Stronger." Since the album is on a smaller scale than Daft Punk's previous albums, it's not surprising that its pleasures are smaller too. The way that the synth, guitar, and vocoder lines blur into mecha-orga unity on the oddly bittersweet title track, and the way that the schaffel beat on "Prime Time of Your Life" gradually overtakes the song, eventually speeding up and devouring it, may not change the way listeners think about music the way that Discovery or Homework did, but that doesn't make them any less enjoyable. Human After All ends up being just not-bad (a first for Daft Punk); that may be hard to accept for fans that demand nothing less than brilliance from them, but just because it isn't an instant classic doesn't mean that it's totally unworthy, either. ~ Heather Phares
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Dance - Released November 16, 2007 | Parlophone France

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Film Soundtracks - Released January 1, 2010 | Parlophone Catalogue

"The Game Has Changed" is the name of one of the tracks on Daft Punk's score to Tron: Legacy, and it also fits Thomas Bangalter and Guy-Manuel de Homem-Christo's music for the film. When it was announced that the duo would score the sequel to one of sci-fi's most visionary movies, it seemed like the perfect fit: Their sleek, neon-tipped, playful aesthetic springs from their love of late-'70s and early-'80s pop culture artifacts like Tron. However, Tron: Legacy takes a much darker, more serious approach than the original film and Daft Punk follows suit, delivering soaring and ominous pieces that sound more like modern classical music than any laser tag-meets-roller disco fantasies fans may have had. Tron: Legacy's legitimacy as a score may surprise listeners unaware of Bangalter's fine work on 2003's Irreversible; while that score actually hews closer to Daft Punk's sound, it showed his potential for crafting music beyond the duo's usual scope. Working with the London Orchestra, Bangalter and de Homem-Christo fuse electronic and orchestral motifs seamlessly and strikingly. "The Game Has Changed" may be the most dramatic example: It starts with a wistful wisp of melody that sounds like a ghost in the machine, then swells of strings and brass and buzzsaw electronics submerge but never quite overtake it. Elsewhere, "Recognizer"'s pulsing horns and synths and "The Son of Flynn"'s arpeggios and strings are so tightly knit that they finish each others' phrases. Daft Punk get in a few clever nods to Wendy Carlos' Tron score, from "The Grid"'s blobby analog synth tones to "Adagio for Tron"'s mournful sense of lost wonder. However, for most of Tron: Legacy, they're concerned with pushing boundaries. It's not until the score's second half that the duo's more typical sound emerges on "Derezzed"'s filter-disco and on "End of the Line," where witty 8-bit sounds evoke '80s video games. These tracks come as welcome relief from the tension Daft Punk ratchets up on almost every other piece, particularly "Rectifier" and "C.L.U." Encompassing the past, present, and future of sci-fi scores, Tron: Legacy feels like it grew and mutated from its origins the same way the film's world did. Without a doubt, it's a game-changer for Daft Punk. ~ Heather Phares
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Dance - Released April 11, 1997 | Parlophone France

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Electro - Released March 31, 2006 | Parlophone France

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Film Soundtracks - Released January 1, 2011 | EMI Catalogue

"The Game Has Changed" is the name of one of the tracks on Daft Punk's score to Tron: Legacy, and it also fits Thomas Bangalter and Guy-Manuel de Homem-Christo's music for the film. When it was announced that the duo would score the sequel to one of sci-fi's most visionary movies, it seemed like the perfect fit: Their sleek, neon-tipped, playful aesthetic springs from their love of late-'70s and early-'80s pop culture artifacts like Tron. However, Tron: Legacy takes a much darker, more serious approach than the original film and Daft Punk follows suit, delivering soaring and ominous pieces that sound more like modern classical music than any laser tag-meets-roller disco fantasies fans may have had. Tron: Legacy's legitimacy as a score may surprise listeners unaware of Bangalter's fine work on 2003's Irreversible; while that score actually hews closer to Daft Punk's sound, it showed his potential for crafting music beyond the duo's usual scope. Working with the London Orchestra, Bangalter and de Homem-Christo fuse electronic and orchestral motifs seamlessly and strikingly. "The Game Has Changed" may be the most dramatic example: It starts with a wistful wisp of melody that sounds like a ghost in the machine, then swells of strings and brass and buzzsaw electronics submerge but never quite overtake it. Elsewhere, "Recognizer"'s pulsing horns and synths and "The Son of Flynn"'s arpeggios and strings are so tightly knit that they finish each others' phrases. Daft Punk get in a few clever nods to Wendy Carlos' Tron score, from "The Grid"'s blobby analog synth tones to "Adagio for Tron"'s mournful sense of lost wonder. However, for most of Tron: Legacy, they're concerned with pushing boundaries. It's not until the score's second half that the duo's more typical sound emerges on "Derezzed"'s filter-disco and on "End of the Line," where witty 8-bit sounds evoke '80s video games. These tracks come as welcome relief from the tension Daft Punk ratchets up on almost every other piece, particularly "Rectifier" and "C.L.U." Encompassing the past, present, and future of sci-fi scores, Tron: Legacy feels like it grew and mutated from its origins the same way the film's world did. Without a doubt, it's a game-changer for Daft Punk. ~ Heather Phares
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Dance - Released December 8, 2000 | Parlophone France

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Dance - Released December 1, 2003 | Parlophone France

Daft Punk's version of a remix album is far better than most of its ilk, but far worse than either of their previous production albums or their live record. But first off, agreeing to remix Daft Punk counts as an act of high hubris for most producers; the duo is responsible for some of the most innovative productions ("Musique," "Revolution 909," "Aerodynamic") and remixes ("Mothership Reconnection," "Disco Cubism," "Chord Memory") of recent years. But fresh blood is always intriguing, and the acts hired out to post-produce for 2001's Discovery LP were widely varied and highly talented. Unfortunately, few of the big names tapped turn in tracks equal to their name. Although Basement Jaxx's version of "Phoenix" (the only track originally taken from Daft Punk's debut album) is a mostly successful translation of DP-style robot disco into Basement Jaxx's vision of sensual house, the Neptunes' remix of "Harder, Better, Faster, Stronger" is an unintentionally nerdy lounge tune, Detroit trio Slum Village's sampling (literally) of "Aerodynamic" becomes a hip-hop album track, and Romanthony's unplugged version of his own feature "One More Time" neatly destroys the magic of the original. Filling in the gaps nicely, however, are lesser-known French upstarts like Jess & Crabbe and Cosmo Vitelli as well as mainstream house mastermind Boris Dlugosch, whose "Digital Love" wisely changes very little of the original. ~ John Bush
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Dance - Released October 19, 2001 | Parlophone France

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Dance - Released November 14, 2003 | Parlophone France

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Dance - Released March 20, 2005 | WM France

Booklet
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Dance - Released March 23, 2001 | Parlophone France

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Dance - Released February 28, 1997 | Parlophone France

Artist

Daft Punk in the magazine
  • Parcels: Five Man Explosion
    Parcels: Five Man Explosion An interview with Daft Punk’s Australian protégés following the release of their first album which blends seventies Pop, Funk and soft Rock.