Daft Punk certainly don’t need any introduction these days. More certainly, any discussion of them doesn’t need my two cents but I feel like singing their praises today. I’ve been a fan since I was 14, a hundred years ago it seems. It was then that my older brother and I embarked on a brave journey to the local mall to purchase our first CD – Daft Punk’s debut album “Homework”. More precisely, it was our first-ever album not pre-approved by our dad or necessarily aligned with his musical tastes.
A critical analysis of Daft Punk’s oeuvre doesn’t seem necessary even now after all these years, because ever since their first big hit “Da Funk” that summer of ’97, Thomas Bangalter and Guy-Manuel de Homem-Christo’s music has been marked primarily by its indisputable and transcendental coolness. At first, we struggled to wrap our heads around the sheer repetitiveness of Daft Punk’s songs; looping incisively in endless multiples of four bars before introducing new instruments/sounds. These weren’t traditional songs but scantily-clad, shameless beats with simple hooks that would be difficult to maintain interest if performed on traditional instruments as opposed to synths, drum machines, samplers or vocoders. Still, we loved it. There was no denying the visceral propulsion of tracks like “Around the World,” “Phoenix,” ”Alive,” or “Indo Silver Club.”
This, of course, heralded the advent of a new era of ‘electronica’/EDM and Daft Punk were far from being the only exponents of this nascent scene. But for their sophomore effort “Discovery”, Thomas and Guy-Manuel went a little deeper into their toolboxes than most, and crafted a lot of actual songs in the old-fashioned sense of the word. This album is an important milestone in terms of the emerging retromania that would come to dominate huge swathes of the musical landscape in the early 21st century. I’m talking about the ubiquitous fetishism or morbid fixation on musical styles and idioms of the relatively recent past. As far as Daft Punk is concerned, their specialization became a quaint spin on and combination of 70s and 80s disco, funk, house and synthpop.
And even though their work begins to take on more form and musical development, the point also seems to be to evoke specific musical and cultural impressions from around the time of the French duo’s childhood. “One More Time,” “Digital Love,” “Harder, Better, Faster, Stronger,” and “Something About Us” are good examples of this more complex songwriting, whereas “High Life,” “Veridis Quo” or “Short Circuit” harken back to their tried-and-true loop-mode, with incessant figures and samples taking their time in giving way to new layers of sound. The closing piece “Too Long” is a 10-minute-long hybrid of both these worlds, the title of which appears to be Daft Punk’s tongue-in-cheek acknowledgment of their many sins against brevity. Even with this excessive running time, the song is a guilty pleasure to listen to just as it clearly was to write…
For many fans, their third album “Human After All” seemed to be a step backward (or in the wrong direction, at any rate) with its short track-list and regression to unsparing loops and samples, which Wynton Marsalis would probably dismiss as brain-atrophying noise best suited for welders. But by this point, Bangalter and de Homem-Christo had long begun to fashion a semi-backstory to their music, with their robotic alter egos clearly taking centre-stage ever since their emergence circa 2001 and rationalizing this recurrent, robotic aesthetic. (Daft Punk even released a feature film starring these robots – their second cinematic outing. They even design furniture. Yes, that’s how cool they are…) As with the abstract expressionism of a Jackson Pollock, the classic debate pitting charges of sloth and pretension against artistic vision and refined minimalism was imminent. Nevertheless, this album does not fail to bombard the listener with Daft Punk’s incomparable brand of coolness. Best songs: “Human After All,” “The Prime Time of Your Life,” “Make Love,” and “Emotion.”
And then… silence. The songwriting duo went on an 8-year hiatus. But the wait paid off for fans with the release of “Random Access Memories” last year. With this album, Daft Punk’s robotic, almost somnambulistic, towards retro-gurudom is, for all intents and purposes, complete. And it is directly analogous to their maturation as songwriters. For me, the much-trumpeted shift to traditional instruments and star-studded collaborations take a back-seat to the compositional leaps and bounds contained herein (even considering the assistance of co-writers here and there).
The whole album – save the sample-driven closer “Contact” – testifies to this. It showcases a variety of styles and approaches all culminating in outstanding songs. The French duo even fashions a few ambitiously progressive, lengthy set-pieces, though very much the antithesis of a “Too Long”, which easily could have been half its length. They even get a little solipsistic at times, but its all good because this is in keeping with much of 70s creativity. I could write for another two hours about this release, and maybe I will some other time…
So Thomas and Guy-Manuel have found their way to the source of great songcraft, even if it was in chasing a synthy disco-funk will-o’-the-wisp. These consummate masters of pastiche have actually created something derivative that is really standalone and unique. And really cool.