Categories :

Similar artists

Albums

HI-RES$17.49
CD$15.49

Pop - 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 Recording - Hi-Res Audio
CD$12.99

Dance - Released March 7, 2001 | Parlophone (France)

Distinctions The Qobuz Ideal Discography
CD$12.99

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'. © TiVo
CD$12.99

Dance - Released November 16, 2007 | Parlophone (France)

Distinctions Pitchfork: Best New Music
HI-RES$1.99
CD$1.49

Electronic/Dance - Released April 19, 2013 | Columbia

Hi-Res Distinctions Hi-Res Audio
HI-RES$1.99
CD$1.49

Electronic/Dance - Released July 3, 2013 | Columbia

Hi-Res Distinctions Hi-Res Audio
CD$12.99

Film Soundtracks - Released January 1, 2010 | Walt Disney Records

"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 /TiVo
CD$12.99

Electronic/Dance - Released March 31, 2006 | Parlophone France

Daft Punk titled their hits compilation with an indicator (Vol. 1) that more would be forthcoming, and it's easy to believe that in a dozen years, another dozen singles could be collected with no drop in quality. Unlike their contemporaries coming of age during the rise of electronica, Messrs. Bangalter and de Homem-Christo structured their tracks with drop-dead hooks, peerless beats that were perfect for the dancefloor or the living room, and an innovative production sense. Although Musique, Vol. 1: 1993-2005 won't be necessary for longtime fans, it boasts a few inclusions that should lure in even those who have each of the first three albums. The first reason is its opener, "Musique," actually a B-side (of debut single "Da Funk") whose basement sonics and filter-disco vocal treatment made it the best side of Daft Punk's best single. The second excellent tactic is including three of Daft Punk's greatest remixes, including the electro-shocked "Mothership Reconnection" (originally by Scott Grooves) and "Chord Memory" (originally by Ian Pooley). During their first dozen years, virtually all of Daft Punk's best productions were singles (the only exception being "Face to Face" from Discovery), and Musique is the best example why the duo was tops in electronica from the late '90s to the turn of the millennium. © John Bush /TiVo
CD$12.99

Dance - Released December 1, 2003 | Parlophone France

Although not rising to the level of either of their previous production albums or their live record, Daft Punk's version of a remix album is far better than most of its ilk. 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. 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. And although few of the other big names tapped turn in tracks that meet or exceed expectations, the gaps are filled in nicely by 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 /TiVo
CD$4.99

Dance - Released April 11, 1997 | Parlophone France

CD$3.99

Dance - Released December 8, 2000 | Parlophone (France)

CD$12.99

Dance - Released March 1, 2005 | Parlophone France

CD$4.99

Dance - Released October 19, 2001 | Parlophone (France)

CD$11.49

Electronic/Dance - Released January 1, 2011 | Walt Disney Records

While Daft Punk’s moody, electro-symphonic score to Tron: Legacy captured its ambition perfectly -- and, arguably, may have been the best thing about the movie -- it didn’t quite satisfy fans looking for dancefloor movers. Tron: Legacy Reconfigured rectifies that by letting the French duo’s peers loose on the film’s music. With a varied group of artists ranging from established names (Moby, the Crystal Method, Paul Oakenfold) to up-and-comers (Com Truise, Pretty Lights), the collection offers eclectic tangents on the retro-futuristic musical world Daft Punk created. While the acts involved don’t offer many surprises, they do what they do well, with the Teddybears giving “Adagio for Tron” a playful pulse and the Crystal Method injecting “The Grid” with adrenalized beats. Oakenfold’s reworking of “C.L.U.” is just as easily identifiable as his work as it is Daft Punk's in its massive atmospheres and rhythms; likewise, Boys Noize and Photek turn in versions of “End of Line” that are distinctive and cohesive at the same time. Even though the energy in remixes like Japanese Popstars' percussive take on “Arena” and AVICII's fizzy remix of “Derezzed” is welcome, some of Tron: Legacy Reconfigured's best moments aren’t danceable. Moby brings a patient grace to “The Son of Flynn,” and M83 and Big Black Delta's collaboration on “Fall” uncovers the track’s dreamy romance. Reconfigured may not be as striking as the original Tron: Legacy score, but it is an enjoyable, more accessible extension of it. © Heather Phares /TiVo
CD$4.99

Dance - Released November 14, 2003 | Parlophone (France)

CD$12.99

Dance - Released March 20, 2005 | Warner (France)

Booklet
CD$2.49

Dance - Released March 15, 2010 | EMI

CD$2.49

Dance - Released March 23, 2001 | Parlophone (France)

CD$3.99

Dance - Released April 5, 2010 | EMI

CD$1.49

Dance - Released October 9, 2007 | 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.