RhoDeo 1412 Beats

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choose Ubuntu 13.10 it will be supported for 9 months. There's many more linux versions, one other popular one with good reviews is linuxmint-16-cinnamon-dvd-32bit(or 64bit) tailored to user-friendliness for desktop users. Linux is not for geeks that may have been  the case 5 years ago, but the current Linux desktop are easy to install and use (comparable to XP) much more stable and faster and much less a target for the virus makers, on top of all these benefits it's free ! Although i'm beginning to think that in the mind of average Joe and Jane this somehow makes Linux suspicious, don't be -make the switch or run it paralel to Windows.

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

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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.


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Four long years after their debut, Homework, Daft Punk returned with a second full-length, also packed with excellent productions and many of the obligatory nods to the duo's favorite stylistic speed bumps of the 1970s and '80s. Discovery is by no means the same record, though. Deserting the shrieking acid house hysteria of their early work, the album moves in the same smooth filtered disco circles as the European dance smashes ("Music Sounds Better with You" and "Gym Tonic") that were co-produced by DP's Thomas Bangalter during the group's long interim. If Homework was Daft Punk's Chicago house record, this is definitely the New York garage edition, with co-productions and vocals from Romanthony and Todd Edwards, two of the brightest figures based in New Jersey's fertile garage scene. Also in common with classic East Coast dance and '80s R&B, Discovery surprisingly focuses on songwriting and concise productions, though the pair's visions of bucolic pop on "Digital Love" and "Something About Us" are delivered by an androgynous, vocoderized frontman singing trite (though rather endearing) love lyrics. "One More Time," the irresistible album opener and first single, takes Bangalter's "Music Sounds Better with You" as a blueprint, blending sampled horns with some retro bass thump and the gorgeous, extroverted vocals of Romanthony going round and round with apparently endless tweakings. Though "Aerodynamic" and "Superheroes" have a bit of the driving acid minimalism associated with Homework, here Daft Punk is more taken with the glammier, poppier sound of Eurodisco and late R&B. Abusing their pitch-bend and vocoder effects as though they were going out of style (about 15 years too late, come to think of it), the duo loops nearly everything they can get their sequencers on -- divas, vocoders, synth-guitars, electric piano -- and conjures a sound worthy of bygone electro-pop technicians from Giorgio Moroder to Todd Rundgren to Steve Miller. Daft Punk are such stellar, meticulous producers that they make any sound work, even superficially dated ones like spastic early-'80s electro/R&B ("Short Circuit") or faux-orchestral synthesizer baroque ("Veridis Quo"). The only crime here is burying the highlight of the entire LP near the end. "Face to Face," a track with garage wunderkind Todd Edwards, twists his trademarked split-second samples and fully fragmented vision of garage into a dance-pop hit that could've easily stormed the charts in 1987. Daft Punk even manage a sense of humor about their own work, closing with a ten-minute track aptly titled "Too Long."

Daft Punk - Discovery ( 415mb)

01 One More Time 5:21
02 Aerodynamic 3:27
03 Digital Love 4:58
04 Harder, Better, Faster, Stronger 3:43
05 Crescendolls 3:28
06 Nightvision 1:43
07 Superheroes 3:57
08 High Life 3:13
09 Something About Us 3:50
10 Voyager 3:46
11 Veridis Quo 5:44
12 Short Circuit 3:24
13 Face To Face 3:58
14 Too Long 10:00

Daft Punk - Discovery  (ogg 157mb)

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Daft Punk's version of a remix album is far better than most of its ilk, but far worse than either of their previous production albums or their live record. 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. Unfortunately, few of the big names tapped turn in tracks equal to their name. Although 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, the Neptunes' remix of "Harder, Better, Faster, Stronger" is an unintentionally nerdy lounge tune, Detroit trio Slum Village's sampling (literally) of "Aerodynamic" becomes a hip-hop album track, and Romanthony's unplugged version of his own feature "One More Time" neatly destroys the magic of the original. Filling in the gaps nicely, however, are 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.

Daft Punk - Daft Club (flac 490mb)

01 Ouverture 2:40
02 Aerodynamic (Daft Punk Remix) 6:10
03 Harder, Better, Faster, Stronger (The Neptunes Remix) 5:11
04 Face To Face (Cosmo Vitelli Remix) 4:54
05 Phoenix (Basement Jaxx Remix) 7:53
06 Digital Love (Boris Dlugosh Remix) 7:30
07 Harder, Better, Faster, Stronger (Jess & Crabbe Remix) 6:01
08 Face To Face (Demon Remix) 6:59
09 Crescendolls (Laidback Luke Remix) 5:25
10 Aerodynamic (Slum Village Remix) 3:37
11 Too Long (Gonzales Version) 3:13
12 Aerodynamite 7:48
13 One More Time (Romanthony's Unplugged) 3:40
14 Something About Us (Love Theme From Interstella 5555) 2:15

Daft Punk - Daft Club (ogg 181mb)

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French house producer Thomas Bangalter made a name for himself in the global dance community as part of the highly successful duo Daft Punk, which also features his longtime friend, Guy-Manuel de Homem-Christo. However, in addition to his work as Daft Punk, Bangalter also started the Roulé label, on which he released several 12"s by himself as well as other noteworthy house producers like Roy Davis Jr. and Romanthony. Among his own productions released on Roulé was a collaboration with Alan Braxe and vocalist Benjamin Diamond as Stardust. The resulting production, "Music Sounds Better With You," became not only one of the most successful dance singles of 1998 but also undoubtedly one of the most popular anthems of the late '90s.

Thomas Bangalter composed the score for the Gaspar Noé film Irreversible, a vividly realistic horror thriller containing brutal assault and rape scenes that reportedly caused hundreds to leave and dozens to faint after its viewing at the Cannes Film Festival. Although Bangalter's productions never previously showed the emotional range to make film work viable, he ably captures a spirit of approaching menace throughout the score. He appears to know much about film music, at least the narrow section from his own lifetime; from the first few notes of the title track, he shows a clear familiarity with the gist of horror classic soundtracks like John Carpenter's Halloween, Goblin's Suspiria, and Tangerine Dream's Sorcerer. "Stress" and "Paris By Night" could've been recorded 20 years earlier, while "Outrage" merges Daft Punk-style French disco with the one-note malevolence of horror soundtracks. For those wanting to hear more of Bangalter's glossy disco, the best candidates are four productions that first appeared up to eight years earlier on 12" releases for the Roulé label: "Spinal Scratch," "Outrun," "Extra Dry," and "Ventura/Into the Tunnel" (other than a few scattered mix albums, they make their CD debut here). This record runs the gamut from dark, deeply disturbing ambient tracks, to fast-driving, funky french house beats. The soundtrack also includes some classical music tracks as well, great to use for intros in a mix.

Thomas Bangalter - Irréversible (O.S.T.) (flac 420mb)

1 Irréversible 6:32
2 Tempus Edax Rerum 1:15
3 Symphony N° 9 In D Major - Adagio (Gustav Mahler) 1:50
4 Rectum 6:23
5 Night Beats 2:18
6 Stress 6:43
7 Paris By Night 6:08
8 Outrage 6:29
9 Outrun 5:43
10 Spinal Scratch 6:30
11 Extra Dry 4:58
12 Désaccords 3:50
13 Ventura / Into The Tunnel 5:48
14 Mon Manège A Moi (Etienne Daho) 3:51
15 Symphony N° 7 In A Major Op. 92 (Ludwig van Beethoven) 3:24
16 The End 1:11

Thomas Bangalter - Irréversible (O.S.T.)  (ogg 157mb)

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