Thomas Bangalter, best known as part of the near-mythical duo Daft Punk, has been inching his way into the film world. In spring 2018 he penned a song for a horror movie, and prior to that he’d played a brief cameo in 2015’s Reality. His latest work follows this path, and shows off his roots in the process.
Titled “Riga (Take 5),” the track immediately shows its connection to its film of Riga (Take 1). Ed Banger, Bangalter’s longtime label home and also the landing spot of this release, showed off a preview via blue vinyl on Instagram. Perhaps the thing that piques interest most, however, is the fact that the entire 14-minute song was recorded in one take. Based off the acidic sounds and gritty, industrial arrangement, one can guess that Riga (Take 1) is not going to be an uplifting watch.
Daft Punk and The Weeknd are being accused of stealing the beat from their 2016 hit collaboration, Starboy,” which peaked at no. 1 on the Billboard Hot 100 at the top of 2017. According to TMZ, poet, singer, and songwriter Yasminah claims her record “Hooyo” is the blueprint for the trio’s joint hit.
Yasminah states she released “Hooyo” in 2009, and of course, “Starboy” came to fruition seven years later. The similarities are obvious: same chorus, same key, same tempo, and same claps on beats two and four. With the “Starboy” rhythm seemingly an obvious rip of the originally, thousands of fans and onlookers are siding with Yasminah with this one.
Two of Yasminah’s producers have already threatened lawsuits over the song, but they never made it to court. She believes that The Weeknd, real name Abel Makkonen Tesfaye, only knew of her song because of his East African roots. While The Weeknd was born in Canada, both of his parents are of Ethiopian descent. Yasminah is now requesting her portion of those settlements, which clock in at over $5 million. The “Starboy” music video currently has amassed nearly 1.4 billion views. Listen to both tracks below and make the comparisons for yourself.
When one looks back upon the development and evolution of electronica over the past 10 years, it’s hard to overlook the nuanced stylings of Digitalism. They are a pressurized anomaly — a sonic and living representation of how versatile and eclectic this form of musical creation can be.
The German duo has consistently put out expertly layered tracks for more than a decade, each building upon and exploring further than the last. They’ve woven rock into house, visited dark techno, dance-punk, and they’ve surfed expertly on synthwave. Digitalism remixed The White Stripes, Cut Copy, Daft Punk, and Tiga, and their work has not been overlooked by their fellow sonic pioneers. Over the years, DJs such as Boys Noize, Soulwax and Justice have played their remixes and tracks at live shows. Now, with the release of the PR15M EP, Digitalism continues to show us their expedition into sound carries onward.
The three-track electro house EP carries on for 15 minutes, giving the listener a place to be, devoid of time and filled with sound. Opening up with “Space Race,” Digitalism welcomes themselves back into listeners’ senses. It’s a head bobber, consistent in its rhythm, constant in growth, and welcoming with well-spaced pauses and subtle harmonic vocal breaks. The standout track of the EP, “Glow,” has a beautiful confidence in its sound. Backed by the lyrics woven throughout the track — “It’s been so long/ ever since it’s over/ don’t stop dancing/ move on” — the duo creates a strong electronic presence for the listener to lean back on. This is truly a beat one can close their eyes to feel support and balance. The closer of PR15M “Voll Beat” is raw fun. Through a slow and intriguing build, the track creates a deep interest. Taking their time, Digitalism continuously layers different synths, patterns, and beats — they show their ability and confidence that can only accumulate over the course of nearly 15 years.
Somebody’s done their homework. Actually, that’s Mr. Harris Rosen, who’s done his quite a lot of research on his latest topic of literary exploration. The author of several behind-the-scenes music books, including N.W.A: The Aftermath, The Real Eminem: Broke City Trash Rapper, and more has just penned a new Daft Punk book, titled The Real Daft Punk.
The book’s just landed on the shelves, giving “vital insight into how the duo achieved unparalleled success, without compromising artistic integrity or musical vision.”
The Real Daft Punk will include exclusive interviews in the age of Homework and in the period leading up the release of Discovery with Thomas Bangalter and Guy-Manuel de Homem-Christo, providing a reflection of the tidal ebbs and flows of dance music and a giving insight into one of the most exceptional musical brotherhoods in history.
Aside from providing a rich historical context on the robot duo, The Real Dat Punk will also feature over 80 original behind-the-scenes photos, including the likes of Derrick Carter and Underworld‘s Karl Hyde, as well as a complete Daft Punk discography.
Daft Punk’s creative director, Cedric Hervet, is a man of many talents.
From their album covers to general art direction, Hervet was the Parisian’s duo’s go-to liaison. He was in charge of all the art direction for Random Access Memories, co-produced their third album Human After All, and even put his eclectic touch on films like Daft Punk’s Electroma and Interstella 5555. On top of that, Hervet was also the animation supervisor of the 2009 Oscar-winning animated short film Logorama. More recently, his creative tendencies have taken an interior design format via the 2014 launch of own Hervet Manufacturier company. Through cutting-edge block desk designs, coffee tables, and lounge chairs, Hervet approaches the futurist form with poise.
Hervet’s most recent exhibition can be found inside Maxfield’s Beverly Hills output in Los Angeles and as expected, it’s a sight to behold. Pieces have been placed throughout the Jean Prouvé building whose highlights include the company’s Le Satellite that houses a Bose sound system, passager armchairs made of steel and full-grain leather, and smaller items such as the Astrolux lamp made out of exotic wood, as well as Vedette skate decks. All of the items in the new Maxfield exhibition were built using traditional woodworking techniques like marquetry and veneering.
View photos from the exhibition below, which opens to the public at Maxfield LA on June 28.
Daft Punk is busy making their usual run of cryptic moves — and hopefully their most recent mysterious YouTube upload is no isolated incident. The dance music icons have seemingly just released a track or teaser to all 2.7 million of their listeners
The track appears to come as a brand new Daft Punk and Floatgoat release insofar as it was uploaded on Daft Punk’s YouTube channel. At the same time, the video could also be an auto-generated music video by CDBaby, in which case the track may just be a cover of Daft Punk’s “Voyager.” According to Google, YouTube creates “auto-generated channels” via algorithms in order to “collect trending and popular videos by topic” and “allow musicians to monetize their songs.”
DA has reached out to CDBaby — the independent music store tied to Voyager’s online release on May 24 — for comment on the video upload.
Bangalter’s new track, “Sangria,” appears alongside his previously released “What To Do” and Daft Punk’s Homework-era “Rollin’ and Scratchin.’” Additional dance tracks in the film, as confirmed by the tracklist, include Apex Twin’s“Windowlicker” and Giorgio Morodor’s “Utopia – Me Giorgio,” as well as tracks from Gary Numan, Soft Cell, The Rolling Stones, and more.
Famous for his grueling, gonzo style of filmmaking,Noé’sfilm is slated for release in the US on September 19 by A24. Best known for their films Moonlight, Ex Machina, Room, and Lady Bird, Climax marks the New York company’s first foray into world cinema.
Claiming to be based on true events, according to The Telegraph, the film “follows a group of dancers on an intensive residential course at a school on the outskirts of Paris, whose post-rehearsal punchbowl is spiked with some unknown hallucinatory substance, bringing on a speedy mass descent into Noéan psychosis.”
Climax marks the third time the French robot and Argentine director have collaborated for the big screen. Bangalter previously provided music for Noé’s Irreversible in 2002, as well as 2009’s psychedelic thriller, Enter the Void.
Recently on an episode of popular music podcast Song Exploder, Arcade Fire frontman Win Butler dove into the making of the band’s 2017 album Everything Now, honing in one what it was like to work with Daft Punk‘s Thomas Bangalter. Butler delves into the process behind “Put Your Money On Me,” recalling recording sessions in Paris at Daft Punk’s studio, which he describes as “one of the last vintage, 70s analogue studios.” Butler, who occasionally moonlights as DJ Windows 98, goes on describing the famously enigmatic Bangalter, claiming,
“You would think that Thomas is all about electronic music, [but] he doesn’t actually really like electronic music.”
It might sound like high blasphemy from Butler at first, but upon actual examination, of course Thomas Bangalter doesn’t actually like electronic music. He’s Thomas Bangalter of Daft Punk; he’s an icon and a total mystery all at once. Butler at one point describes Bangalter as, “very academic, deep and philosophical.” The list of currently popular electronic music that might even be a blip on Bangalter’s radar is likely infinitesimal at best. By comparison, are we supposed to believe Jay Z is up on Lil Xan’s latest moves? Is Willie Nelson combing through Mason Ramsey’s SoundCloud? Likely not.
The cultural zeitgeist doesn’t always line up with the stuff of legend — and that’s okay. Right now, Bangalter is working with bands like Arcade Fire and his counterpart, Guy-Manuel de Homem-Christo is currently assisting artists like The Weeknd anyway. If we are lucky enough to get a statement from Daft Punk on the state of electronic music once a decade as we’ve grown accustomed, we should consider ourselves lucky altogether.
The Weeknd’s surprise release of My Dear Melancholy marks the vocalist’s first full-length production since 2016’s Starboy, The Weeknd’s widely acclaimed third studio album. The considerable commercial success of Starboy could be credited in part to The Weeknd’s collaboration with Daft Punk on two tracks of the album, “I Feel It Coming,” and the album’s namesake, “Starboy.”
The interplay of The Weeknd’s and Daft Punk’s musical acumen figures again on My Dear Melancholy, where Daft Punk’s Guy-Manuel de Homem-Christo receives a production credit on the six-song project’s fifth track, “Hurt You.” Techno visionary Gesaffelstein and Skrillex are likewise represented in terms of authorial credit — Gesaffelstein appears as both a featured artist and a producer on “I Was Never There,” and “Hurt You.” Skrillex’s influence in the making of the album’s third listing, “Wasted Times,” is apparent in his production credit thereon.
The speculation surrounding a Daft Punk reunion on the final day of Ultra Music Festival has continued to mount since the iron-on patches enclosed in the Ultra 20 ticket canisters originally spawned speculation that Daft Punk would close out the festival. A SoundCloud upload entitled “x” by a “User19972001200420132019” has made its way to the r/daftpunk, and despite some Redditors’ doubts, many believe the track to be an “unconfirmed leak” of some kind. The moderators of the subreddit reportedly know the source of the “leak” and have determined that the SoundCloud post could be legitimate.
User19972001200420132019’s supposed leak has since been compared to a previous “leak” of “Overnight,” a single that Daft Punk released in 2017. Redditors have also questioned the significance of the username. Some perceive the series of numbers to be arbitrary, whereas other have suggested that the years represent album release dates.