They played a good game.Īs visionary as they were, in many ways Thomas and Guy-Man arrived at the right place and the right time, growing up in France adjacent to explosions in both rock and roll and electronic music. They’re potential retirees in their mid-40s. They’re superstars you might not notice in a supermarket. They bridged the gap between the music of their childhood and the disparate sounds of pop in their adulthood. What set Daft Punk apart from many of their fellow electronic-music evangelists (Moby, Fatboy Slim, Paul Oakenfold), the classic-rock icons they grew up idolizing (the Beach Boys, Kiss, Led Zeppelin), and pop and rap stars like Kanye West and the Weeknd (who would enact similar plans in their wake) is that they were able to accomplish ambitious abandon without being subsumed by branding, and without leveraging much personal peace for cultural cachet.
The French duo was in a long conversation with the Zeitgeist, interested in nothing less than shifting culture - a lofty aim for any band but one that you could argue this pair of chrome-domed dreamers made good on more than once since 1993, gauging the reverberations that followed the more audacious career moves Thomas Bangalter and Guy-Manuel de Homem-Christo made in times they were interested in being seen or known.
They workshopped product that catered to an unfulfilled need, then made calculated adjustments along the way, trying new things and learning from the mistakes that came from fiddling with the formula.
Something about us daft punk software#
In the almost three decades between early singles like “The New Wave” and Monday’s abrupt apparent breakup announcement, Daft Punk moved as much like engineers or software developers as musicians in the quest to locate dance music’s perfect sound. It was a Daft Punk cover, there was a videographer there, this is the internet - so even on a night that seemed more about chill relaxation, and for a song that came with a self-doubting intro, this take’s well worth its document.As visionary as they were, in many ways Thomas and Guy-Man arrived at the right place and the right time.
Something about us daft punk pro#
Despite this being a friendly gathering without pro sound, everything on that roof struck as perfectly calibrated, from acoustics to backdrop, so Andrea’s “I’m afraid of this next song” intro confessed an unfounded fear. Twin Sister went first, and worked through a ten-or-so-song set that featured one new one, many from their excellent EPs, and this cover of Daft Punk’s “ Something About Us.” The track’s spaced-out, mildly funky groove is a sort that Twin Sister toys with in their own work - seeing them live is appreciating how locked and versatile their rhythm section is, flipping easily from space disco to dampened funk or driving songs with kraut-like insistence. A good 50+ people turned up for this last minute post-midnight get together thrown by the kids at Infinite Best Recordings, for a BYOB affair boasting a set from fast rising and ever-improving Twin Sister and their frequent showmates Holiday Shores (who were somehow everywhere I was this past weekend: this roof on Frost Ave., opening for the morning benders at Music Hall Of Williamsburg the next night, and playing again hours later at Bruar Falls’ 1-year anniversary/dance party at 2AM). I was in a car to Greenpoint within the hour. I was thisclose to making it a couch night on Friday, when I read an email at 11PM about a rooftop party in Brooklyn where Twin Sister would be playing.
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