There’s a new Daft Punk book out that charts the band’s history & success

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There’s a new Daft Punk book out that charts the band’s history & successDaft Punk Pointing Terry Richardson

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.

Grab a copy here.

H/T: Mixmag

Daft Punk’s creative director launches high-end futurist furniture exhibition

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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.

H/T: Hypebeast

What’s with this mysterious video Daft Punk posted to their YouTube page?

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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.

Daft Punk’s Thomas Bangalter pens new song ‘Sangria’ for provocative horror movie, ‘Climax’

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Daft Punk’s Thomas Bangalter wrote new music for Climax, the latest film from Argentinian provocateur Gaspar Noé.

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’s film 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.


Apparently Daft Punk’s Thomas Bangalter doesn’t really even like electronic music

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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.

Daft Punk, Gesaffelstein, Skrillex assist on The Weeknd’s new album

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The Weeknd

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.

H/T: EDM Sauce

A cryptic SoundCloud upload has some speculating it’s a Daft Punk ‘leak’

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Daft Punk Resident Advisor

Activity on the r/daftpunk subreddit is momentarily diverting ticket holders’ attention from the Swedish House Mafia rumor mill, and directing it instead toward Daft Punk‘s.

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.

Comment from discussion x.

The SoundCloud post surfaces — for now — as a connection to a possible Daft Punk anniversary performance at Ultra Music Festival that is tenuous at best.

H/T: EDM Tunes

Reddit users appear to have cracked the code concerning Ultra’s surprise guests

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The three iron-on patches that Ultra Music Festival ticket holders received in their special edition black and orange 20th anniversary canisters appeared in addition to ear plugs and temporary tattoos. Presumed to be innocuous party favors provided in honor of the milestone birthday celebration, the patches elicited minimal attention from pass purchasers prior to Ultra’s provocative tweet on March 10.

Ticket holders have since begun to interpret the three patches enclosed within each ticket canister as emblematic of the three unannounced acts that will close each respective day of the festival this year. The analysis has led several aspiring attendees to evaluate the circular patch with a singular dot as evidence that deadmau5, whose eye matches the design of the patch, will deliver the ending performance to the first day of Ultra.


Mind = blown. from r/UMF

The theory that Swedish House Mafia will give a reunion performance at “Ultra 20” on March 24, 2018 — four years to the day of the mega group’s previous closure of the festival — is convincingly supported by fans’ conjecture that the three dots on the flag-shaped patch stand in for the three members of the trio. Fans have read the patch’s two additional dots as signifiers that Swedish House Mafia will close day two.

The final, and inarguably the most explosive conjecture, rests in the identity of the third patch, an astronaut holding up three fingers. From the white and orange/gold color scheme to the astronaut logo itself, ticket holders have analyzed the third patch as proof that Daft Punk will make a landmark return to close out Ultra’s last day on March 25.

However far-fetched or plausible the speculations seem, good guesses will remain just that — good guesses — until festival organizers release the final phase in Ultra’s bombshell lineup.

H/T: DJ Mag

Pop idol or mainstage act? DallasK combines divergent directions [Interview + Spring Break Playlist]

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DallasK Press

Orlando native Dallas Koehlke might not have been able to legally drink at 19, but that didn’t stop him from booking club sets across the country thanks to his infectious beats and mounting popularity within the electronic dance music scene. The young producer, better known as DallasK, followed his momentum and moved to Los Angeles with a plan to become the next big electronic music producer. If someone had told him that this move would lead to his production skills being the glue behind one of America’s hottest girl groups, and that his singing would be the one aspect holding his diverse roster of releases together, he probably would have found the idea outlandish.

Since Dallas’s move, now six years ago, the 27-year-old has continued to prove that his artistry can hardly be confined to a box. His diverse range of skills have opened doors for him to produce for pop’s biggest acts, release under his own moniker, and perform live as a vocalist. While his past is littered with heavy hitting electronic music collaborations with names such as Tiesto, KSHMR, and Hardwell, his future includes releasing a series of diverse singles that will singularly be held together with his vocals. Some will skew pop, others electronic, and his most recent release “Self Control” even has hints of the punk rock he listened to as a teen.

Koehlke spoke with DA about his unexpected entrance into the pop industry and how it is impacting his future in the electronic music scene. When asked whether he would like to be America’s next pop idol or a headliner at Ultra, the producer noted that his goal is to be a hybrid of the two. His ascent from electronic into pop is reminiscent of The Chainsmokers‘ journey, and it is not one we many artists successfully navigate. Despite The Chainsmokers’ immense success, the backlash they have received along the way as they have attempted to find relevance within both the electronic and pop fan communities has been severe.

Koehlke is optimistic about his future trying to bridge the two worlds together through his music, and if anyone is able to do it, he is a likely candidate. As someone who is ingrained in both scenes, Koehlke’s insights about the differences of a producer’s role in pop versus electronic music are unique. Read the full interview below, and check out DallasK’s exclusive Spring Break x Dancing Astronaut Playlist:

So tell me a little about your background.

I’ve been making dance music and touring as a DJ since I was 19 years old. I’ve done a lot of collabs with Hardwell, Tiesto, and Martin Garrix — people like that. When I moved to LA when I was 21, I met a lot of people and got into the producing songwriting world. I’ve been doing that in tandem with touring all of the time, making club records, and over the past year, I’ve been trying to figure out how I can combine those two worlds.

When I moved to LA, I never thought I would be writing songs, singing, and making pop songs for girl bands. That’s where I found myself, and I really enjoyed it. I figured as a DJ, I wanted to incorporate that because I felt like the music I was making as an artist wasn’t necessarily indicative of me as a person? So, that’s why I’m really happy with “All My Life,” and “Self Control,” because I think they are really indicative of my life. “All My Life” has all of the electro house and the drops, and “Self Control” is kind of indicative of the emo music I listened to growing up. Beyond that, the new stuff that is coming out in a couple of months will be similar and different, and I think my voice is the glue that ties is all together.

Was singing on your tracks intimidating for you? I know for a lot of people it is.

I think the thing that gave me the courage to do it is that my publishing company had an event where they wanted me to perform some of the songs I had written for other people. They were like, ‘you know you can accompany someone on guitar, or you can sing it, or someone else can sing it.’ I was of the mentality at the time that I wanted to challenge myself, and although playing guitar with someone else singing would have been cool,  I realized the way for this to be the most challenging was getting up there and singing. I had never done that before.

Even when I was in a band when I was younger, I would play guitar and bass. I was never a vocalist. So I kind of agreed haphazardly without really knowing whether I could do it or not. I practiced a bit, and then I performed “Work from Home” by Fifth Harmony, which I wrote the year before, and a Justin Bieber “What do you mean?” cover. It was pretty well received, and everyone on my team was like, “why don’t you sing- you should sing.” Then I backtracked and had all of this music coming out, and I was like, “well hey, why don’t I record these, and see if I like how I sound.” I’ve been producing for other artists, and all I’ve been doing is cutting people’s voices onto songs, so I have the knowledge of what to do. So I did it, and I was happy with the result. Everyone else was as well, so I figured that was the best way forward. It was still very nerve wracking with the live performance thing, and we are still developing the live show. Putting them out and seeing how people react is also very stressful, but it’s been good so far.

You’re career kind of began and was rooted in the electronic music world. Then you branched into pop production, and now you are even the vocalist on your tracks. In your ideal world, what does the future hold? Are you America’s next pop boy or are you headlining Ultra?

Um, that’s a really good question, and I think it’s some kind of hybrid that doesn’t really exist yet, but I’m working on it. I really do love djing, and I love the dance music community. The fans are so passionate. They always come to the shows, and they always come to the events. What I find with other kinds of music is that it is a more passive fan experience. There are alot of people online and around the world, and obviously everyone can’t be everywhere at every festival, but (with electronic music) I feel like it’s a real community, and I love that as like a live blueprint for where I see my show.

10 years from now, I hope I’m just still making dope music. I don’t know what the style will be. It’s hard to tell. If you told Kanye West when he made The College Dropout that he was going to make Yeezus 10 years after, and it was going to be all of this crazy production, and Daft Punk would be on it- he probably wouldn’t have been able to guess that. But yeah, I definitely see myself as some kind of a hybrid between a vocalist and electronic music producer. I think what I always really love about electronic music, especially with the live performance, is that it is just so powerful. Kind of like, it outperforms any other kind of music for me. I mean, if you’re at Coachella, and Arcade Fire is playing mainstage, and Skrillex is at the Sahara Tent — Arcade Fire is cool, but there is no contest. There is not going to be more energy at that stage than there is for Skrillex.

As electronic music becomes more mainstream and poppy, there has been real backlash from electronic music fans who claim that producer’s are selling out and the music is becoming formulaic. As someone who floats between both worlds, what are your thoughts on this?

I’m a fan of lots of different types of music. I see people who float between the two worlds because they are fans of music, and they don’t get caught up in a genre determining if they can like something or not. I see both sides, where people are like, ‘What is this- why are you making Revealed Records music?’ Then I’ve seen people be like, “Holy Shit, I love your old stuff, and this is really good too. I would have never expected you to make this and keep going with it.” But yeah, there are definitely people who are fans of one specific sound or one genre and want to be superiorist with that. I think with streaming platforms and people having access to so much music, genres are becoming a little less important, and that’s what makes it more feasible for someone like me to just make anything I want.

Is the creative process different for you when it comes to producing music for hip pop and pop artists versus creating your own releases? Or is it all the same creative energy for you?

It definitely has different energies, and I think in some ways making music for other people is more freeing because you aren’t restricted. If you’re the voice of something, it all comes back to you, and you are essentially responsible for that. But, if you are making a song for somebody else, and it has a sound you may not have as an artist, but it’s something you think is cool, it gives you the freedom to do that. I will say it is definitely more fulfilling releasing music as an artist, and that’s why I took this time to build my artistry as a singer and songwriter. When you give a song to someone else it becomes their song, and if you really do feel connected to it, but then it is theirs, it’s a weird kind of gray area where it can be very rewarding and very disenchanting in the same way, so making music as an artist is definitely more fulfilling for me. It does come with more challenges with what do I want my message to be, and what do I want to say. It is my voice and my songwriting on top of just making crazy productions and bangers. They are both fun. I enjoy both, and they both have their challenges, but I think being an artist is my favorite thing, and my way forward. If I write a song, and it’s pretty dope, but it’s not right for me, then that is pretty freeing because I have a million outlets to send it to. That gives me the ability to take more risks as an artist.

You’re also in a unique position when it comes to your perspective on the electronic music industry because you’re a part of the electronic music and pop music industries. Do you have observations on how these industries function differently or similarly to one another, and what that looks like?

I think the last few years, with streaming really becoming the way that people consume music, this has led to the music industry really getting turned on its head. Pop has always been focused on radio, right? That’s the way you would break an artist. Radio is still important, and it has plays, but streaming broke down the barriers and allows artists to reach millions of people easily and effectively. Even as an independent artist, you can do this without having a million dollar radio budget. That’s what was cool about electronic music. Because of the internet and YouTube, you’d go to a festival and hear a song, and other DJs would play it, it was kind of like this other way you’d view success instead of going down the radio path, which was like, you know how you became a mainstay in music in general.

With pop, they are more concerned with touring, radio plays, radio shows, and building fans online. That’s important to both worlds, but I think now, it’s the Wild Wild West. You just try stuff, and people connect to it, and if they don’t, you try something else. You know really quickly if it works. I think people have the freedom to do that now, which is really really important. Going back to dance music- a pop artist would make an album, and spend 6-8 months, and $400,000, and that album may not have any hits that people connected with. Then it’s going to take them 6-8 months, a year, 3 years, to do another album, and the record label probably isn’t going to want to put as much money into it because they didn’t make their initial investment back. With dance music it’s like, kids on the computer, going to shows, put something out, if it gets really big then great. If it doesn’t then great- I have another song that I am going to put out right now, and I think that’s the most exciting part of how that’s permeated to pop music now, and that level of quickness.

Is there a particular artist who, if you were to collaborate with this person, you’d be like- this is the pinnacle of my career, and I’ve made it?

Definitely Daft Punk, for sure. Kanye West probably too. But yeah, between those two and M83, that would be my big “wow, this is like as good as it gets.”

What can we expect from you in the next year?

Definitely more singles. I don’t have any plans for an EP or an album or anything like that. Like I said, I like the ability to move fast and see if things work, and I think my goal this year is to release more music than I have in all of my other years of making music combined, and just being able to like, put stuff out and feel like it has a home. Next couple of months it will be single after single, and I’m really excited about it.

In the meantime, Spring Break is upon us, and DallasK put together the perfect playlist to celebrate. Check out the playlist including his new single “All My Life.”

Premiere: Daft Punk – Rinzler (1788-L Remix)

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Rinzler Art

It’s unclear who 1788-L is or what they have in store for the newly launched project, but based on the two originals and (now) two remixes to the project’s catalog, it’s clear the producer behind the scenes is making some of the grittiest, hardest bass music out there. For the latest flip, 1788-L lends a hand to one of Daft Punk‘s numbers from the Tron: Legacy album they scored, titled “Rinzler.”

The French duo’s original is a grandiose build of orchestral strings and running synths, which 1788-L keeps intact with some added, booming drum hits. However, it’s the drop that will have listeners’ jaws on the floor, as the producer unleashes a speaker-breaking arrangement of synth scrapes, pounding 808s, and crunching distortion reminiscent of Porter Robinson‘s live edit of “Fresh Static Snow.”

For fans of bass and heavy genres, 1788-L is one to watch.