Hello, almost two weeks now and still no spotting of the missing plane, i wonder if disappearing without out a trace is even more frightening, sort of terrorism deluxe.. At least it offers a distraction from that Crimea saga. The spring equinox has past in days gone by it heralded the days of plenty were coming...time to seed, time to worship mother nature. Wow news today, Kate Bush will have a 15-night residency at the Hammersmith Apollo London – the same venue at which she performed the final shows of her 1979 tour – beginning on 26 August. Tickets will be gone in minutes next Friday..."A Ticket, a ticket my kingdom for a ticket"
These months French rule the beats and they have plenty to offer even though not that much reaches the world as the music scene is rather dominated by the Anglo - American music industry. Meanwhile the French enjoyed themselves in their own niche so to speak, and they did rather well. Today a French electronic music duo consisting of musicians Guy-Manuel de Homem-Christo and Thomas Bangalter. They reached significant popularity in the late 1990s house movement in France and met with continued success in the years following, combining elements of house with synthpop. The duo is credited with producing songs that are considered essential in the French house scene. They are known for emphasis on using visual and story components associated with their musical productions. They've managed to get the US media in a frenzy and last year did more for the global economy than most politicians do in a lifetime...get lucky N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
In similar company with new-school French progressive dance artists such as Motorbass, Air, Cassius, and Dimitri from Paris, Parisian duo Daft Punk quickly rose to acclaim by adapting a love for first-wave acid house and techno to their younger roots in pop, indie rock, and hip-hop. The combined talents of DJs Guy-Manuel de Homem-Christo and Thomas Bangalter, the pair's first projects together included Darling, a voiceless indie cover band; their current recording name derives from a review in U.K. music weekly Melody Maker of a compilation tape Darling were featured on, released by Krautrock revivalists Stereolab (their lo-fi D.I.Y. cover of a Beach Boys song was derided as "daft punk"). Subsequently ditching the almost inevitable creative cul-de-sac of rock for the more appealing rush of the dancefloor, the pair released their debut single, "The New Wave," in 1993 on the celebrated Soma label. Instantly hailed by the dance music press as the work of a new breed of house innovators, the single was followed by "Da Funk," the band's first true hit (the record sold 30,000 copies worldwide and saw thorough rinsings by everyone from Kris Needs to the Chemical Brothers).
Although the group had only released a trio of singles ("The New Wave" and "Da Funk," as well as the 1996 limited pressing of "Musique"), in early 1996 Daft Punk were the subject of a minor bidding war. The group eventually signed with Virgin, with its first long-player, Homework, appearing early the following year (a brief preview of the album, "Musique," was also featured on the Virgin compilation Wipeout XL next to tracks from Photek, Future Sound of London, the Chemical Brothers, and Source Direct). As with the earlier singles, the group's sound is a brazen, dancefloor-oriented blend of progressive house, funk, electro, and techno, with sprinklings of hip-hop-styled breakbeats and excessive, crowd-firing samples similar to other anthemic dance-fusion acts such as the Chemical Brothers and Monkey Mafia. In addition to his role in Daft Punk, Bangalter operates the Roulé label and has recorded under his own name (the underground smash "Trax on da Rocks") as well as Stardust (the huge club/commercial hit "Music Sounds Better with You").
After four long years of fans eagerly awaiting a follow-up to their brilliant debut, Daft Punk finally issued Discovery in March 2001. The live record Alive 1997 followed at the end of the year, and a by-now predictable four-year wait preceded the release of Human After All in early 2005. One year later, Daft Punk released a compilation, Musique, Vol. 1: 1993-2005, and in 2007 their second live record, Alive 2007, arrived. The album and its single "Harder, Better, Faster, Stronger" won Grammy Awards early in 2009; shortly after, at the 2009 San Diego Comic-Con, it was announced that the duo composed 24 tracks for the film Tron: Legacy. Daft Punk's score was arranged and orchestrated by Joseph Trapanese. The band collaborated with him for two years on the score, from pre-production to completion. Daft Punk's music for the movie was released in November 2010, shortly before the film arrived in theaters. The members of Daft Punk also make a cameo appearance as disc jockey programs wearing their trademark robot masks within the film's virtual world. Tron: Legacy -- Walt Disney Records released a remix album of the score titled Tron: Legacy Reconfigured on 5 April 2011.
Daft Punk worked on their fourth studio album, Random Access Memories in collaboration with singer-songwriter Paul Williams and Chic frontman Nile Rodgers. In May 2012 it was also announced that Giorgio Moroder had collaborated with the duo, recording a monologue about his life in a vocal booth containing microphones ranging from 1960 to present day. In January 2013, de Homem-Christo revealed that Daft Punk was in the process of signing with Sony Music Entertainment through the Columbia Records label, and that the album would have a spring release. A report from The Guardian followed specifying a release date of May 2013. On 3 April, the official album website launched The Collaborators, a series of 16mm documentary videos about the album.
On 12 April, a video preview for the song "Get Lucky", in which Pharrell Williams and Nile Rodgers appear, was played at the Coachella Valley Music and Arts Festival. The radio edit of the song was released as a digital download single on 19 April 2013. "Get Lucky" became Daft Punk's first UK No. 1 single on 28 April 2013 remaining at number one for 4 weeks (as of 24 May) and the Spotify music streaming website reported that the song is the most-streamed new song in the service's history. For the 56th Annual Grammy Awards, Random Access Memories was awarded the Grammy for Best Dance/Electronica Album, Album of the Year and Best Engineered Album, Non-Classical, while "Get Lucky" received the Grammy for Best Pop Duo/Group Performance and the Record of the Year. Daft Punk also performed a medley at the ceremony with Rodgers, Pharrell, and Stevie Wonder of "Get Lucky", "Le Freak", "Harder, Better, Faster, Stronger", "Another Star", "Lose Yourself to Dance", and "Around the World".
Their outward personae have also changed over time. In one the duo's earliest magazine appearances, de Homem-Christo stated in a Jockey Slut interview that, "We don't want to be photographed. [...] We don't especially want to be in magazines. During their Homework years, the duo would usually wear masks to hide their appearance. In their more visible Discovery years, they appeared wearing robotic headgear and metallic gloves for publicity photo shoots, interviews, live shows and music videos. The helmets were produced by Paul Hahn of Daft Arts and the French directors Alex and Martin, the duo who also designed them. Daft Punk have said that they donned their robot masks to easily merge the characteristics of humans and machines. However, Bangalter later stated that the costumes were initially the result of shyness. "But then it became exciting from the audience's point of view. It's the idea of being an average guy with some kind of superpower." When asked whether the duo expressed themselves differently within the robotic suits, Bangalter stated "No, we don't need to. It's not about having inhibitions. It's more like an advanced version of glam, where it's definitely not you." With the release of Human After All, the musical duo's outfits became slightly less complicated by consisting of black leather jacket and pants and simplified versions of the Discovery headgear.
It can be said that the mystery of their identity and the elaborate nature of their disguises has added to their popularity. Anonimity and media events a strange mix that has payed of for them big time, and they can walk the streets without bother. It sure sets them apart from the rest of the music world.
xxxxx xxxxx xxxxx xxxxx xxxxx
Daft Punk produced the tracks included in Homework without a plan to release an album. Bangalter stated, "It was supposed to be just a load of singles. But we did so many tracks over a period of five months that we realized that we had a good album." The duo set the order of the tracks to cover the four sides of a two-disc vinyl LP. De Homem-Christo remarked, "There was no intended theme because all the tracks were recorded before we arranged the sequence of the album. The idea was to make the songs better by arranging them the way we did; to make it more even as an album." The name Homework, Bangalter explained, relates to "the fact that we made the record at home, very cheaply, very quickly, and spontaneously, trying to do cool stuff.
The duo' s full-length debut is a funk-house hailstorm, giving real form to a style of straight-ahead dance music not attempted since the early fusion days of on-the-one funk and dance-party disco. Thick, rumbling bass, vocoders, choppy breaks and beats, and a certain brash naiveté permeate the record from start to finish, giving it the edge of an almost certain classic. Daft Punk’s Homework is probably one of the most cited electronic record from the French country, be it not by unbiased listeners. The good thing is that, in its linear approach to dance music, the tracks are quite versatile. It goes from the straight and kicking techno from the happy “Phoenix” to the disco leanings of the excellent “Around the World”, which is probably the best track here, offering a beautiful - almost melancholic - twist midway to its deep and accessible groove. “Revolution 909” is a typical example of how catchy house music can get, utilizing the drum machine to the max and putting the bass under it with excellent timing. While a few fall flat, the best tracks make this one essential.
Daft Punk - Homework ( 493mb)
01 Daftendirekt 2:43
02 Wdpk 83.7 fm 0:26
03 Revolution 909 5:25
04 Da Funk 5:27
05 Phoenix 4:55
06 Fresh 4:03
07 Around The World 7:07
08 Rollin' & Scratchin' 7:26
09 Teachers 2:51
10 High Fidelity 6:01
11 Rock 'n Roll 7:32
12 Oh Yeah 1:59
13 Burnin' 6:52
14 Indo Silver Club 4:33
15 Alive 5:13
16 Funk Ad 0:51
xxxxx xxxxx xxxxx xxxxx xxxxx
Daft Punk EP's (flac 373mb)
1 Around The World (Radio Edit) 3:11
2 Around The World (Tee's Frozen Sun Mix) 7:54
3 Around The World (Motorbass Vice Mix) 6:37
4 Around The World (Daft Punk Edit) 3:59
5 Around The World (Call Out Research Hook) 0:12
1 Da Funk (Radio Edit) 3:48
2 Da Funk (Original Version) 5:33
3 Musique 6:52
1 Revolution 909 (Radio Edit) 3:44
2 Revolution 909 (Roger & Junior's Revolutionary War Mix) 8:55
3 Revolution 909 (Revolution Accapella) 1:03
4 Revolution 909 (Original Mix) 5:34
xxxxx xxxxx xxxxx xxxxx xxxxx
Alive 1997 reveals the French duo Daft Punk as one of the brightest entertainers in the occasionally stale world of album-based electronic dance. True, techno and house DJs can light up a crowd like few others, but the increasing artist slant of electronica often results in push-button programming and straight-from-DAT live performances, with most of the heavy lifting relegated to the lighting supervisor and effects computers. This brief glimpse at Daft Punk's live show circa 1997 (their major breakout year) is a tour de force of high-energy theatrics and flair. Aside from the pair of "WDPK" interludes, Alive 1997 includes only three tracks, but they're so radically different from their album versions that they're only barely familiar. The duo's biggest hit so far, "Da Funk," is stretched out to 16 minutes with a start-and-stop improvisation section that brings the crowd to a peak, while "Rollin' & Scratchin'" never looks back after breaking right on through the red-line. All screaming acid noise, thumping techno, chopped-up disco melodies, warped samples, and only the occasional bit of French-style house. Beats would drop in odd places, basslines would creep up into the mix without you even noticing, tracks would disintegrate just as you figured they were getting going, and sounds would reappear 10 minutes after you thought the track had finished. This live album captures the balls-out, stomping, twisted madness of Daft Punk live, but it's such a tragic shame that it's only 45 minutes of the set. An energizing document.
Daft Punk - Alive (flac 341mb)
Alive 1997 45:33
1a WDPK (Part I)
1b Da Funk
1c Rollin' And Scratchin'
1d WDPK (Part II)
1e Alive
xxxxx xxxxx xxxxx xxxxx xxxxx
These months French rule the beats and they have plenty to offer even though not that much reaches the world as the music scene is rather dominated by the Anglo - American music industry. Meanwhile the French enjoyed themselves in their own niche so to speak, and they did rather well. Today a French electronic music duo consisting of musicians Guy-Manuel de Homem-Christo and Thomas Bangalter. They reached significant popularity in the late 1990s house movement in France and met with continued success in the years following, combining elements of house with synthpop. The duo is credited with producing songs that are considered essential in the French house scene. They are known for emphasis on using visual and story components associated with their musical productions. They've managed to get the US media in a frenzy and last year did more for the global economy than most politicians do in a lifetime...get lucky N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
In similar company with new-school French progressive dance artists such as Motorbass, Air, Cassius, and Dimitri from Paris, Parisian duo Daft Punk quickly rose to acclaim by adapting a love for first-wave acid house and techno to their younger roots in pop, indie rock, and hip-hop. The combined talents of DJs Guy-Manuel de Homem-Christo and Thomas Bangalter, the pair's first projects together included Darling, a voiceless indie cover band; their current recording name derives from a review in U.K. music weekly Melody Maker of a compilation tape Darling were featured on, released by Krautrock revivalists Stereolab (their lo-fi D.I.Y. cover of a Beach Boys song was derided as "daft punk"). Subsequently ditching the almost inevitable creative cul-de-sac of rock for the more appealing rush of the dancefloor, the pair released their debut single, "The New Wave," in 1993 on the celebrated Soma label. Instantly hailed by the dance music press as the work of a new breed of house innovators, the single was followed by "Da Funk," the band's first true hit (the record sold 30,000 copies worldwide and saw thorough rinsings by everyone from Kris Needs to the Chemical Brothers).
Although the group had only released a trio of singles ("The New Wave" and "Da Funk," as well as the 1996 limited pressing of "Musique"), in early 1996 Daft Punk were the subject of a minor bidding war. The group eventually signed with Virgin, with its first long-player, Homework, appearing early the following year (a brief preview of the album, "Musique," was also featured on the Virgin compilation Wipeout XL next to tracks from Photek, Future Sound of London, the Chemical Brothers, and Source Direct). As with the earlier singles, the group's sound is a brazen, dancefloor-oriented blend of progressive house, funk, electro, and techno, with sprinklings of hip-hop-styled breakbeats and excessive, crowd-firing samples similar to other anthemic dance-fusion acts such as the Chemical Brothers and Monkey Mafia. In addition to his role in Daft Punk, Bangalter operates the Roulé label and has recorded under his own name (the underground smash "Trax on da Rocks") as well as Stardust (the huge club/commercial hit "Music Sounds Better with You").
After four long years of fans eagerly awaiting a follow-up to their brilliant debut, Daft Punk finally issued Discovery in March 2001. The live record Alive 1997 followed at the end of the year, and a by-now predictable four-year wait preceded the release of Human After All in early 2005. One year later, Daft Punk released a compilation, Musique, Vol. 1: 1993-2005, and in 2007 their second live record, Alive 2007, arrived. The album and its single "Harder, Better, Faster, Stronger" won Grammy Awards early in 2009; shortly after, at the 2009 San Diego Comic-Con, it was announced that the duo composed 24 tracks for the film Tron: Legacy. Daft Punk's score was arranged and orchestrated by Joseph Trapanese. The band collaborated with him for two years on the score, from pre-production to completion. Daft Punk's music for the movie was released in November 2010, shortly before the film arrived in theaters. The members of Daft Punk also make a cameo appearance as disc jockey programs wearing their trademark robot masks within the film's virtual world. Tron: Legacy -- Walt Disney Records released a remix album of the score titled Tron: Legacy Reconfigured on 5 April 2011.
Daft Punk worked on their fourth studio album, Random Access Memories in collaboration with singer-songwriter Paul Williams and Chic frontman Nile Rodgers. In May 2012 it was also announced that Giorgio Moroder had collaborated with the duo, recording a monologue about his life in a vocal booth containing microphones ranging from 1960 to present day. In January 2013, de Homem-Christo revealed that Daft Punk was in the process of signing with Sony Music Entertainment through the Columbia Records label, and that the album would have a spring release. A report from The Guardian followed specifying a release date of May 2013. On 3 April, the official album website launched The Collaborators, a series of 16mm documentary videos about the album.
On 12 April, a video preview for the song "Get Lucky", in which Pharrell Williams and Nile Rodgers appear, was played at the Coachella Valley Music and Arts Festival. The radio edit of the song was released as a digital download single on 19 April 2013. "Get Lucky" became Daft Punk's first UK No. 1 single on 28 April 2013 remaining at number one for 4 weeks (as of 24 May) and the Spotify music streaming website reported that the song is the most-streamed new song in the service's history. For the 56th Annual Grammy Awards, Random Access Memories was awarded the Grammy for Best Dance/Electronica Album, Album of the Year and Best Engineered Album, Non-Classical, while "Get Lucky" received the Grammy for Best Pop Duo/Group Performance and the Record of the Year. Daft Punk also performed a medley at the ceremony with Rodgers, Pharrell, and Stevie Wonder of "Get Lucky", "Le Freak", "Harder, Better, Faster, Stronger", "Another Star", "Lose Yourself to Dance", and "Around the World".
Their outward personae have also changed over time. In one the duo's earliest magazine appearances, de Homem-Christo stated in a Jockey Slut interview that, "We don't want to be photographed. [...] We don't especially want to be in magazines. During their Homework years, the duo would usually wear masks to hide their appearance. In their more visible Discovery years, they appeared wearing robotic headgear and metallic gloves for publicity photo shoots, interviews, live shows and music videos. The helmets were produced by Paul Hahn of Daft Arts and the French directors Alex and Martin, the duo who also designed them. Daft Punk have said that they donned their robot masks to easily merge the characteristics of humans and machines. However, Bangalter later stated that the costumes were initially the result of shyness. "But then it became exciting from the audience's point of view. It's the idea of being an average guy with some kind of superpower." When asked whether the duo expressed themselves differently within the robotic suits, Bangalter stated "No, we don't need to. It's not about having inhibitions. It's more like an advanced version of glam, where it's definitely not you." With the release of Human After All, the musical duo's outfits became slightly less complicated by consisting of black leather jacket and pants and simplified versions of the Discovery headgear.
It can be said that the mystery of their identity and the elaborate nature of their disguises has added to their popularity. Anonimity and media events a strange mix that has payed of for them big time, and they can walk the streets without bother. It sure sets them apart from the rest of the music world.
xxxxx xxxxx xxxxx xxxxx xxxxx
Daft Punk produced the tracks included in Homework without a plan to release an album. Bangalter stated, "It was supposed to be just a load of singles. But we did so many tracks over a period of five months that we realized that we had a good album." The duo set the order of the tracks to cover the four sides of a two-disc vinyl LP. De Homem-Christo remarked, "There was no intended theme because all the tracks were recorded before we arranged the sequence of the album. The idea was to make the songs better by arranging them the way we did; to make it more even as an album." The name Homework, Bangalter explained, relates to "the fact that we made the record at home, very cheaply, very quickly, and spontaneously, trying to do cool stuff.
The duo' s full-length debut is a funk-house hailstorm, giving real form to a style of straight-ahead dance music not attempted since the early fusion days of on-the-one funk and dance-party disco. Thick, rumbling bass, vocoders, choppy breaks and beats, and a certain brash naiveté permeate the record from start to finish, giving it the edge of an almost certain classic. Daft Punk’s Homework is probably one of the most cited electronic record from the French country, be it not by unbiased listeners. The good thing is that, in its linear approach to dance music, the tracks are quite versatile. It goes from the straight and kicking techno from the happy “Phoenix” to the disco leanings of the excellent “Around the World”, which is probably the best track here, offering a beautiful - almost melancholic - twist midway to its deep and accessible groove. “Revolution 909” is a typical example of how catchy house music can get, utilizing the drum machine to the max and putting the bass under it with excellent timing. While a few fall flat, the best tracks make this one essential.
Daft Punk - Homework ( 493mb)
01 Daftendirekt 2:43
02 Wdpk 83.7 fm 0:26
03 Revolution 909 5:25
04 Da Funk 5:27
05 Phoenix 4:55
06 Fresh 4:03
07 Around The World 7:07
08 Rollin' & Scratchin' 7:26
09 Teachers 2:51
10 High Fidelity 6:01
11 Rock 'n Roll 7:32
12 Oh Yeah 1:59
13 Burnin' 6:52
14 Indo Silver Club 4:33
15 Alive 5:13
16 Funk Ad 0:51
xxxxx xxxxx xxxxx xxxxx xxxxx
Daft Punk EP's (flac 373mb)
1 Around The World (Radio Edit) 3:11
2 Around The World (Tee's Frozen Sun Mix) 7:54
3 Around The World (Motorbass Vice Mix) 6:37
4 Around The World (Daft Punk Edit) 3:59
5 Around The World (Call Out Research Hook) 0:12
1 Da Funk (Radio Edit) 3:48
2 Da Funk (Original Version) 5:33
3 Musique 6:52
1 Revolution 909 (Radio Edit) 3:44
2 Revolution 909 (Roger & Junior's Revolutionary War Mix) 8:55
3 Revolution 909 (Revolution Accapella) 1:03
4 Revolution 909 (Original Mix) 5:34
xxxxx xxxxx xxxxx xxxxx xxxxx
Alive 1997 reveals the French duo Daft Punk as one of the brightest entertainers in the occasionally stale world of album-based electronic dance. True, techno and house DJs can light up a crowd like few others, but the increasing artist slant of electronica often results in push-button programming and straight-from-DAT live performances, with most of the heavy lifting relegated to the lighting supervisor and effects computers. This brief glimpse at Daft Punk's live show circa 1997 (their major breakout year) is a tour de force of high-energy theatrics and flair. Aside from the pair of "WDPK" interludes, Alive 1997 includes only three tracks, but they're so radically different from their album versions that they're only barely familiar. The duo's biggest hit so far, "Da Funk," is stretched out to 16 minutes with a start-and-stop improvisation section that brings the crowd to a peak, while "Rollin' & Scratchin'" never looks back after breaking right on through the red-line. All screaming acid noise, thumping techno, chopped-up disco melodies, warped samples, and only the occasional bit of French-style house. Beats would drop in odd places, basslines would creep up into the mix without you even noticing, tracks would disintegrate just as you figured they were getting going, and sounds would reappear 10 minutes after you thought the track had finished. This live album captures the balls-out, stomping, twisted madness of Daft Punk live, but it's such a tragic shame that it's only 45 minutes of the set. An energizing document.
Daft Punk - Alive (flac 341mb)
Alive 1997 45:33
1a WDPK (Part I)
1b Da Funk
1c Rollin' And Scratchin'
1d WDPK (Part II)
1e Alive
xxxxx xxxxx xxxxx xxxxx xxxxx
Could you please re-up these Daft Punks? Thanks!
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