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Electronic - 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
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Electronic - Released February 28, 1997 | Parlophone (France)

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Electronic - Released April 11, 1997 | Parlophone France

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

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

Distinctions The Qobuz Ideal Discography
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Electronic - Released March 23, 2001 | Parlophone (France)

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Electronic - Released June 8, 2001 | Parlophone (France)

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

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

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Electronic - 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
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Electronic - Released January 21, 2005 | Parlophone (France)

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Electronic - Released January 21, 2005 | Parlophone (France)

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Dance - Released January 25, 2005 | Parlophone (France)

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Electronic - Released March 1, 2005 | Parlophone France

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

Booklet
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Electronic - Released April 12, 2005 | Parlophone France

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Electronic - Released April 12, 2005 | Parlophone France

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Electronic - Released April 12, 2005 | Parlophone France

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Electronic - Released April 22, 2005 | Parlophone France

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Electronic - 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

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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.