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Solely responsible for the current interest in all things funky and French, the Daft Punk boys, Thomas Bangalter and Guy-Manuel de Homem-Christo, can do no wrong. Breaking into the club scene with their own blend of techno-disco in 1995, their debut album is the 80's electro-funk record of your dreams. Influenced by old school Chicago house and Detroit minimalist techno (all name checked on "Teachers"), Homework ranges from the warped electro that has become their trademark on "Around the World" and "Da Funk", to banging acid techno on "Rollin'and Scratchin'" and "Alive". An album so funky it could make James Brown cry, and with so much bite you can feel it at the back of your throat. --Ed Potton

After rocking the suburbs with the infectious and persistent "Da Funk" (with its amusingly pointless Spike Jonze video), Gallic pranksters Daft Punk unleashed Homework , an album that combined everything good about house music with everything bad about French pop and changed the face of dance music in the process. The sound of production duo Thomas Bangalter and Guy Manuel de Homem is a raw and dirty collage of cheap drum machines (wired for maximum swing) welded to endless filtered loops and embellished with everything from guitars to talk-box vocals. The beats are lifted straight from the Chicago House textbook, but the simple bass lines and catchy hooks make a listenable pop song from what would normally be a stripped-down DJ tool. Uncompromising yet totally accessible. --Matthew Corwine

Product details

• Is Discontinued By Manufacturer ‏ : ‎ No
• Language ‏ : ‎ English
• Product Dimensions ‏ : ‎ 5.79 x 5 x 0.39 inches; 3.32 ounces
• Manufacturer ‏ : ‎ Parlophone
• Item model number ‏ : ‎ 2132323
• Original Release Date ‏ : ‎ 1997
• SPARS Code ‏ : ‎ DDD
• Date First Available ‏ : ‎ December 24, 2005
• Label ‏ : ‎ Parlophone
• ASIN ‏ : ‎ B000000WCV
• Number of discs ‏ : ‎ 1
• #36 in House (CDs & Vinyl)
• #113 in Electronica (CDs & Vinyl)
• #376 in Dance Pop (CDs & Vinyl)

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Homework Vinyl 2LP

Daft Life SKU lp-13023

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Daft Punk 's 1997 debut album took the raw foundation of Chicago house to prog rock levels of high concept and grandiosity... looking over the odd photos and scribbles on the inner sleeves, you’d think you were looking at a Supertramp record, not something inspired by   DJ Deeon . The videos accompanying the album are even weirder... but none of this high art schlock means anything if the tracks don’t bang, and do they! Seeing “Da Funk” and “Around The World” on late night MTV2 lured me in, when I was too young and too green to recognize any of the names shouted out on “Teachers” apart from maybe  Dr. Dre and George Clinton . But I stuck around for “Fresh,” “Oh Yeah,” “Alive,” and perhaps most importantly, “Revolution 909.” Homework is the gateway drug that sent an entire generation of naïve suburban tweens on a quest to find out what records by Todd Edwards , Romanthony , Kenny Dope and  Jeff Mills  sounded like. The first truly great house *album*, and probably still the best. Double vinyl pressing housed in deluxe high-gloss gatefold with printed inner sleeves, recommended.

• black double vinyl pressing
• housed in deluxe gatefold jacket w/ printed inner sleeves
• original release year: 1997
• music label: Daft Life 2022

reviewed by hannibal chew 02/2017

A post shared by @turntablelab on Feb 4, 2018 at 9:14am PST

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By Larry Fitzmaurice

December 2, 2018

Daft Punk ’s Homework is, in its pure existence, a study in contradictions. The debut album from Thomas Bangalter and Guy-Manuel de Homem-Christo arrived in 1997, right around the proliferation of big-beat and electronica—a twin-headed hydra of dance music fads embraced by the music industry following the commercialization of early ’90s rave culture—but when it came to presumptive contemporaries from those pseudo-movements, Homework shared Sam Goody rack space and not much else. Daft Punk’s introduction to the greater world also came at a time when French electronic music was gaining international recognition, from sturdy discotheque designs to jazzy, downtempo excursions—music that sounded miles away from Homework ’s rude, brutalist house music.

In the 21 years since Homework ’s release, Daft Punk have strayed far from its sound with globe-traversing electronic pop that, even while incorporating other elements of dance music subgenres, has more often than not kept house music’s building blocks at arms’ length. 2001’s Discovery was effectively electronic pop-as-Crayola box, with loads of chunky color and front-and-center vocals that carried massive mainstream appeal. Human After All from 2005 favored dirty guitars and repetitive, Teutonic sloganeering, while the pair took a nostalgia trip through the history of electronic pop itself for 2013’s Random Access Memories . Were it not for a few choice Homework tracks that pop up on 2007’s exhilarating live document Alive 2007 , one might assume that Homework has been lost in the narrative that’s formed since its release—that of Daft Punk as robot-helmeted superstar avatars, rather than as irreverent house savants.

But even as the straightforward and strident club fare on Homework remains singular within Daft Punk’s catalog, the record also set the stage for the duo’s career to this very day—a massively successful and still-going ascent to pop iconography, built on the magic trick-esque ability to twist the shapes of dance music’s past to resemble something seemingly futuristic. Whether you’re talking about Bangalter and Homem-Christo’s predilection for global-kitsch nostalgia, their canny and self-possessed sense of business savvy, or their willingness to wear their influences on their sleeve like ironed-on jean-jacket patches—it all began with Homework .

It couldn’t possibly make more sense that a pair of musicians whose most recent album sounds like a theme park ride through pop and electronic music’s past got their big break at Disneyland. It was 1993, and schoolboy friends Bangalter and Homem-Christo’s rock band with future Phoenix guitarist Laurent Brancowitz, Darlin’—named after a track from the 1967 Beach Boys album Wild Honey that the three shared an affinity for—had disbanded after a year of existence that included a few songs released on Stereolab ’s Duophonic label. (Melody Maker writer Dave Jennings notoriously referred to their songs as possessing “a daft punky thrash,” which led to the pair assuming the Daft Punk moniker.)

While attending a rave in Paris, Bangalter and Homem-Christo had a chance encounter with Glasgow DJ/producer Stuart McMillan, the co-founder of the Soma Recordings dance label; like any aspiring musicians would, they gave him a demo tape of early Daft Punk music. The following year Soma released Daft Punk’s debut single “The New Wave,” a booming and acid-tinged instrumental that would later evolve into Homework cut “Alive.”

A follow-up, “Da Funk” b/w “Rollin’ & Scratchin’,” hit shops in 1995; according to a Muzik profile two years later, its initial 2,000-platter pressing was “virtually ignored” until rave-electronica bridge-gap veterans the Chemical Brothers started airing out its A-side during DJ sets. A major-label bidding war ensued, with Virgin as the victor which re-released “Da Funk” as a proper single in 1996 with non- Homework track “Musique” as its B-side. During this time, Bangalter and Homem-Christo casually worked on the 16 tunes that would make up Homework in the former’s bedroom, utilizing what The Guardian ’s Ben Osborne referred to in 2001 as “ low technology equipment ”—two sequencers, a smattering of samplers, synths, drum machines, and effects, with an IOMEGA zip drive rounding out their setup.

Bangalter and Homem-Christo’s work ethic while assembling the bulk of Homework was of the type that makes sloths appear highly efficient by comparison: no more than eight hours a week, over the course of five months. “We have not spent much time on Homework ,” Bangalter casually bragged to POP . “The main thing is that it sounds good… We have no need to make music every day.” The songs were crafted with the intention of being released as singles (“We do not really want to make albums,” Bangalter claimed in the same interview), Homework ’s eventual sequencing a literal afterthought after the pair realized they had enough material to evenly fill four sides of two vinyl platters. “Balance,” the pair said in unison when asked about Homework ’s format-specific sequencing in Dance Music Authority following the album’s release. “It is done for balance.”

Indeed, Homework is practically built to be consumed in side-long chunks; taking the album in at a single 75-minute listen can feel like running a 5K right after eating an entire pizza. Its A-side kicks off with the patient build of “Daftendirekt”—itself a live-recording excerpt of introductory music used during a Daft Punk set at 1995’s I Love Techno festival in Ghent—and concludes with the euphoric uplift of “Phoenix”; the B-side opens with the literal oceanic washes of “Fresh” before stretching its legs with the loopy, Gershon Kingsley-interpolating “Around the World” and the screeching fist-pump anthem “Rollin’ & Scratchin’.” The third side keeps things light with the flashy, instructional “Teachers” before getting truly twisted on “Rock’n Roll,” and the fourth side takes a few rubbery detours before landing on the full-bodied “Alive”—the thicker and meaner final form of “The New Wave”—and, quixotically, a slight and rewound “Da Funk” return, aptly titled “Funk Ad.”

Bangalter explained to POP that the title of Homework carries a few meanings: “You always do homework in the bedroom,” he stated, referencing the album’s homespun origins before elaborating on the didactic exercise that creating the album represented: “We see it as a training for our upcoming discs. We would as well have been able to call it Lesson or Learning .” That instructional nature is reflexive when it comes to listeners’ presumptive relationship with the album, as Homework practically represents a how-to for understanding and listening to house music.

Nearly every track opens with a single sonic element—more often than not, that steady 4/4 rhythm inextricably tied to house music—adding every successive element of the track patiently, like a played-in-reverse YouTube video showcasing someone taking apart a gadget to see what’s inside. Such a pedagogic approach can have its pitfalls; there’s always a risk of coming across as too rigid, and Daft Punk arguably fell victim to such dull, fussy didacticism later in their careers. But they sidestep such follies on Homework by way of the purely pleasurable music they carefully assembled, piece-by-piece, for whoever was listening.

Under the umbrella of house music, Homework incorporates a variety of sounds snatched from various musical subgenres—G-funk’s pleasing whine, the cut-up vocal-sample style of proto-UK garage made popular by frequent Daft Punk collaborator Todd Edwards , disco’s delicious synths and glittery sweep—to craft a true musical travelogue that also hinted at the widescreen sonic scope they’d take later in their careers. Above all, the album represents a love letter to black American pop music that’s reverberated through Daft Punk’s career to date—from Janet Jackson ’s sample of “Daftendirekt” on her 2008 Discipline track “So Much Betta” to Will.i.am’s failed attempt to remix “Around the World” the year previous, as well as the duo’s continued collaborations with artists ranging from Pharrell to Kanye West and the Weeknd .

The spirit of house music’s Midwestern originators is also literally and musically invoked throughout. Over the winding house-party groove of “Teachers,” Daft Punk pay homage to their formative influences, ranging from George Clinton and Dr. Dre to Black house and techno pioneers like Lil Louis, DJ Slugo, and Parris Mitchell—and in a meta twist, the song’s structure itself is a literal homage to Mitchell’s 1995 Dance Mania! single “Ghetto Shout Out,” an interpolation clearly telegraphed in the middle of Daft Punk’s astounding contribution to BBC’s Essential Mix series in 1997 .

Alongside Daft Punk’s preoccupations with American popular music, Homework also carries a very specific and politically pointed evocation of their native Paris in “Revolution 909,” the fourth and final single released from Homework that doubled as a critique of anti-rave measures taken by the French government after Jacques Chirac assumed power in 1995. “I don’t think it’s the music they’re after—it’s the parties,” Homem-Christo told Dance Music Authority , with Bangalter adding, “They pretend [the issue is] drugs, but I don’t think it’s the only thing. There’s drugs everywhere, but they probably wouldn’t have a problem if the same thing was going on at a rock concert, because that’s what they understand. They don’t understand this music which is really violent and repetitive, which is house; they consider it dumb and stupid.”

“Revolution 909” opens with ambient club noise, followed by the intrusion of police sirens and intimidating megaphone’d orders to “stop the music and go home.” The accompanying Roman Coppola-helmed music video was even more explicit in depicting the frequent clash between ravers and law enforcement that marked dance music’s rise to the mainstream in the early-to-mid-’90s; amidst a kitschy instructional video on making tomato sauce, a pair of cops attempt to disperse a rave, a young woman escaping one of their grasps after he becomes distracted by a tomato sauce stain on his own lapel.

It’s been rumored, but never quite confirmed, that Bangalter himself appears in the video for “Revolution 909”—a slice of speculation gesturing towards the fact that Daft Punk’s Homework era was the time in which the duo began embracing anonymity. The now-iconic robot helmets wouldn’t be conceived of until the Discovery era, and the magazine stories that came during Daft Punk’s pre- Homework days were typically accompanied by a fresh-faced photo of the pair; during Homework ’s promotional cycle, however, they donned a variety of masks to obscure their visages, including frog and pig-themed disguises .

In conversation with Simon Reynolds for The New York Times in 2013, the pair cited Brian De Palma’s glam-rock masterpiece Phantom of the Paradise as artistic inspiration for their decision to retain visual anonymity, and Daft Punk’s press-shy tendencies (since Homework , the interviews they’ve chosen to take part in have been few and far between) are firmly situated in a long tradition of letting the music do the talking in dance culture—from the sci-fi evasiveness of Drexciya and Aphex Twin ’s relative reclusiveness to the preferred reticence of Burial and his contemporaries in the UK bass scene.

But refusing to turn themselves into rock stars upon Homework ’s release also afforded Daft Punk a crucial element that has undoubtedly aided their perpetual ascent to the present-day: control. Retaining a sense of anonymity was but one of the conditions that the pair struck with Virgin upon signing to the label before Homework ’s release; while the music they released under the label (before signing to Columbia in 2013) was licensed exclusively to Virgin, they owned it through their own Daft Trax production and management company.

But Homework proved influential in other, more explicitly musical ways. G-house, an emergent dance subgenre in the mid-2010s dominated by acts like French duo Amine Edge & Dance, borrows liberally from Daft Punk’s own musical mash of hip-hop’s tough sounds and house music’s pounding appeal; the dirty bloghouse bruisers of Parisian collective Ed Banger—founded by Pedro Winter aka Busy P, who acted as the group’s manager until 2008—would literally not exist were it not for Homework , and that goes double for the party-hardy bloghouse micro-movement of the mid-late 2000s, which Ed Banger’s artists practically dominated. Parisian duo Justice , in particular, owe practically the entirety of their 2007 landmark † to the scraping tension of “Rollin’ & Scratchin’.”

It’s tempting, too, to tie a connective thread between Homework and the brash sounds that proliferated during the peak heyday of the financial descriptor-cum-music genre known as EDM; close your eyes while listening to “Alive”’s big-tent sweep and try not to imagine the tune destroying a festival crowd. But for all of Homework ’s aggressive charms, it’s also retained a homespun intimacy in comparison to how positively widescreen Daft Punk’s music became afterwards. “We focus on the illusion because giving away how it’s done instantly shuts down the sense of excitement and innocence,” Bangalter told Pitchfork in 2013, and the fact that two Beach Boys fans fiddling around in their bedroom could conceive of something so generously in-your-face and playful as Homework might still stand as Daft Punk’s greatest illusion yet.

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Homework (25th Anniversary Edition)

Few records combine sonic innovation with veneration for what came before as succinctly as Daft Punk’s 1997 debut, Homework. The title itself implies this duality: It’s a reference to both the bedroom studio where musicians Thomas Bangalter and Guy-Manuel de Homem-Christo recorded their early house and techno productions, and a nod to the older artists the duo studied in preparation for their dance music breakthrough. Many of those musical ancestors are name-checked on the Homework track “Teachers”, on which Bangalter and Homem-Christo salute the (mostly) electronic music producers and DJs who inspired their work. That includes plenty of semi-obscure Chicago house music heroes and Detroit and UK techno champions, many of whom predated Daft Punk by a decade—but who were still active in the late-1990s rave scene. By tagging their peers, the members of Daft Punk were expressing solidarity with the many BIPOC artists whom they’d obsessed over for years. It was a declaration of belonging that could have come off as appropriation, had Homework not so fully elevated the genre. Bangalter and Homem-Christo might wear their influences on their sleeve, but their music transcends mere tribute; it’s some of the most unforgettable hook-laden house and techno ever put to wax. When it comes to the dance floor, if a record’s hot, that record is hot. And DJs across the globe pumped Homework’s 16 tracks, which included everything from playful filtered disco (“Revolution 909”) to throttling acid techno (“Rollin’ & Scratchin’”). Meanwhile, radio jocks and MTV programmers on the lookout for format-friendly versions of popular rave sounds swooned over Homework cuts like “Da Funk” and “Around the World”, which became breakout hits, thanks to inventive videos directed, respectively, by Spike Jonez and Michel Gondry. That near-impossible confluence of talent and timing allowed Homework to achieve its position atop every list of 1990s electronic music. As time went on, the members of Daft Punk would prove themselves worthy of every accolade Homework received as they continued to evolve from students to teachers to masters—elevating the state of electronic music every step of the way.

20 January 1997 31 Songs, 3 hours, 2 minutes Distributed exclusively by Warner Music France / ADA France, ℗ 1997, 2022 Daft Life Ltd.

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Homework [2LP]

UPC : 190296611926

Double vinyl LP pressing. Homework is the debut studio album by the French electronic music duo Daft Punk, originally released in 1997. As the duo's first project on a major label, they produced the album's tracks without plans to release them, but after initially considering releasing them as separate singles, they considered the material good enough for an album. Homework's success brought worldwide attention to French house music. The album charted in 14 countries, peaking at number 3 on the French Albums Chart, number 150 on the United States Billboard 200 and at number 8 on the UK Albums Chart.

Available: 2022-05-06

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Screen Rant

Cyberpunk 2077 player finds funky easter egg after over 400 hours of playing.

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Best Bars In Cyberpunk 2077, Ranked By Vibes

One cyberpunk 2077 phantom liberty secret is still confusing four years after release, after over a decade it's the end of the line for cyberpunk 2077.

• Cyberpunk 2077 features real-world references like Keanu Reeves and bootleg Daft Punk for players to discover in Night City.
• A group of in-universe musicians resembling Daft Punk can be found in a club during Kerry Eurodyne's side mission.
• Private Press, the Daft Punk-esque duo in the game, can also be spotted at a special event on the 99.9 Impulse radio channel.

Cyberpunk 2077 is full of references to notable real-world people, from Johnny Silverhand actor Keanu Reeves - who is canon in the game's universe - to the late rally driver, Ken Block. The series' creator Mike Pondsmith even appears in-game as a radio host. After 400 hours of exploring Night City, one player has found the in-universe equivalent of the French electronic music duo Daft Punk.

Daft Punk are known for songs such as Around The World and Harder, Better, Faster, Stronger, and are easily recognizable due to their distinct stage attire, which consists of futuristic helmets disguising their identities. Such an item of clothing wouldn't be out of place in the futuristic world of Cyberpunk , and developers CD Projekt Red opted to include a similar design for a group of in-universe musicians, who Redditor HackSama referred to as " bootleg Daft Punk ".

Other Redditors joined in with the joke, referring to what knock-off songs a bootleg Daft Punk would produce, including Around The Globe , Tougher, Gooder, Quicker, Musclier , and One Additional Time as a parody of One More Time .

Hanging out in a bar in Cyberpunk 2077, getting a drink and listening to the conversations, or chatting with the bartender can be an immersive treat.

Where To Find The Daft Punk-Esque Duo In Cyberpunk 2077

Unsurprisingly, the duo can be seen on night city's music scene.

While it took HackSama over 400 hours to find the " bootleg Daft Punk ", whose actual name in-universe is Private Press fellow Redditor Alex369S pointed out that the duo can be seen in one of Kerry Eurodyne's side missions, “ I Don't Wanna Hear It ”. As part of this quest, V and Kerry must sneak into an Us Cracks gig at Riot, a club in Little China, Watson to talk to the group about their cover of one of Kerry's songs. There are many ways to do this, but if players steal a ticket from one of the fans, buy one legitimately, or intimidate the bouncer, they can go through the main entrance, which is where they'll see the Daft Punk-esque duo. There are other options to sneak into the club through the back, however, and this is one way for players to easily miss them.

If the quest Violence has been completed before I Don't Wanna Hear It prior to this quest, V can access Riot through the VIP entrance.

There is another event at Riot for the 99.9 Impulse radio channel where players can spot Private Press , however. This event seems to be the one HackSama spotted them at and is available to those who pay attention to the messages they get via their Holocom. This DJ playing at this show is Mr. Kipper, who is actually Idris Elba, who portrayed the Federal Intelligence Agency (FIA) sleeper agent Solomon Reed in the Phantom Liberty expansion, and the track Walk Of Shame that Kipper plays at the event was created by Elba. This track can be heard on the 99.9 Impulse radio channel alongside a variety of different tracks by Private Press.

Solomon Reed can also be seen working undercover as a bouncer in a different bar in Night City, the Electric Orgasm, where fixer Dino Dinovic operates.

While easily missed, Cyberpunk 2077 's Daft Punk homage is a fun one that fits in perfectly with the sci-fi world of the game. The band's lore is further explored in promotional shards across the city, with one stating that they hail from Grobel Orbital Station, thousands of miles from Earth, and identify with the cultural heritage of the Highriders, the space-dwelling, high-tech colonists of Low Earth Orbit (LEO), so players should definitely keep their eyes peeled if they want to learn more.

Sources: HackSama/Reddit , Alex369S/Reddit

Cyberpunk 2077

Based on the 1988 tabletop game, Cyberpunk 2077 is a first-person action RPG game set in a dystopian cyber future developed by CD Projekt Red. Players will tackle the streets of Night City as customizable protagonist V, who struggles to keep their memories intact after receiving a strange cybernetic implant that slowly overrides their memories by a deceased celebrity known as Johnny Silverhand, played by Keanu Reeves.

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Daft Punk|Homework (25th Anniversary Edition)

Homework (25th Anniversary Edition)

• Released on 20/01/1997 by Daft Life Ltd. - ADA France
• Main artists: Daft Punk
• Genre: Dance

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Guy-Manuel de Homem-Christo and Thomas Bangalter, the two French twenty-something DJs who make up Daft Punk, are relentless dance music aficionados and historians. And unlike many of their contemporaries, their interests don't just lie in the electronic beats that have been rockin' the clubs since the mid-'80s. The two knob-twiddlers are just as well-versed in Giorgio Moroder's Euro-disco grooves, Chic, and the old-school rhythms of Afrika Bambaataa and the Sugarhill Records catalog as they are in the Chicago house and Detroit techno traditions. When they're not assembling catchy-as-hell bits of electro-pop ("Around the World"), throwing down slabs of minimalist funk ("Da Funk"), or marrying Miami bass to Kraftwerk-ian blips ("Oh Yeah"), Homem-Christo and Bangalter try to impart a little knowledge. On "Teachers," they use a Ween-esque distorted vocal line to name-check a broad list of influences who includes Brian Wilson, Dr. Dre, and Armand Van Helden. Their broad focus, utopian determination, and, of course, their way with a beat earn Daft Punk's Homework a well-deserved 'A'. © TiVo

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Nilesh Patel, MasteringEngineer - Daft Punk, MainArtist - Thomas Bangalter, Producer, Writer - Guy-Manuel de Homem-Christo, Producer, Writer

Distributed exclusively by Warner Music France / ADA France, © 1997, 2022 Daft Life Ltd. Distributed exclusively by Warner Music France / ADA France, ℗ 1996 Daft Life Ltd.

Nilesh Patel, MasteringEngineer - Daft Punk, MainArtist - Thomas Bangalter, Composer, Producer, Writer - Guy-Manuel de Homem-Christo, Composer, Producer, Writer

I:Cube, Remixer, RemixingEngineer - Daft Punk, MainArtist - Thomas Bangalter, Composer, Producer, Writer - Guy-Manuel de Homem-Christo, Composer, Producer, Writer

Junior Sanchez, Remixer - Daft Punk, MainArtist - Thomas Bangalter, Composer, Producer, Writer - Roger Sanchez, Remixer - Guy-Manuel de Homem-Christo, Composer, Producer, Writer

Distributed exclusively by Warner Music France / ADA France, © 1997, 2022 Daft Life Ltd. Distributed exclusively by Warner Music France / ADA France, ℗ 1997 Daft Life Ltd.

Daft Punk, MainArtist - Thomas Bangalter, Composer, Producer, Writer - TODD TERRY, Additional Producer, Remixer - Guy-Manuel de Homem-Christo, Composer, Producer, Writer

Masters At Work, Remixer - Daft Punk, MainArtist - Thomas Bangalter, Composer, Producer, Writer - Guy-Manuel de Homem-Christo, Composer, Producer, Writer - Steven Barkan, MixingEngineer - Louie Vega, Reconstruction, RemixingEngineer - KENNY "DOPE" GONZALEZ, Reconstruction, RemixingEngineer - Oscar Monsalve, AssistantEngineer

Carlos Sosa, RemixingEngineer - Nilesh Patel, MasteringEngineer - Daft Punk, MainArtist - Thomas Bangalter, Composer, Producer, Writer - DJ Sneak, Remixer - Guy-Manuel de Homem-Christo, Composer, Producer, Writer

Masters At Work, Remixer - Daft Punk, MainArtist - Thomas Bangalter, Composer, Producer, Writer - Kenny 'Dope' Gonzalez, Reconstruction - Guy-Manuel de Homem-Christo, Composer, Producer, Writer - Louie Vega, RemixingEngineer - KENNY "DOPE" GONZALEZ, RemixingEngineer - 'Little Louie' Vega, Reconstruction - Oscar Monsalve, AssistantEngineer - Oscar Monalve, AssistantEngineer - Steve Burkan, MixingEngineer

Nilesh Patel, MasteringEngineer - Daft Punk, MainArtist - Thomas Bangalter, Composer, Producer, Writer - Guy-Manuel de Homem-Christo, Composer, Writer - Ian Pooley, Remixer - Guy-Manuel De Homem-Cristo, Producer

Daft Punk, MainArtist - Thomas Bangalter, Composer, Producer, Writer - Guy-Manuel de Homem-Christo, Composer, Producer, Writer - Etienne De Crecy, RemixingEngineer - Philippe Cerboneschi, RemixingEngineer - Motorbass, Remixer

Nilesh Patel, MasteringEngineer - Daft Punk, MainArtist - Thomas Bangalter, Composer, Producer, Writer - Guy-Manuel de Homem-Christo, Composer, Writer - Slam, Remixer - Stuart McMillan, RemixingEngineer - Orde Meikle, RemixingEngineer - Guy-Manuel De Homem-Cristo, Producer

Daft Punk, MainArtist - Thomas Bangalter, Composer, Producer, Writer - TODD TERRY, Remixer - Guy-Manuel de Homem-Christo, Composer, Producer, Writer - Steven Barkan, MixingEngineer - Louie Vega, Reconstruction, RemixingEngineer - KENNY "DOPE" GONZALEZ, Reconstruction, RemixingEngineer - Oscar Monsalve, AssistantEngineer

Carlos Sosa, RemixingEngineer - Nilesh Patel, MasteringEngineer - Daft Punk, MainArtist - Thomas Bangalter, Composer, Producer, DJ, Writer - DJ Sneak, Remixer - Guy-Manuel de Homem-Christo, Composer, Producer, DJ, Writer

Daft Punk, MainArtist - Thomas Bangalter, Composer, Producer, Writer - Guy-Manuel de Homem-Christo, Composer, Writer - Guy-Manuel de Homem Christo, Producer

Album review

About the album.

• 2 disc(s) - 31 track(s)
• Total length: 03:01:50
• Composer: Various Composers
• Label: Daft Life Ltd. - ADA France
• Genre: Electronic Dance

Distributed exclusively by Warner Music France / ADA France, © 1997, 2022 Daft Life Ltd. Distributed exclusively by Warner Music France / ADA France, ℗ 1997, 2022 Daft Life Ltd.

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Music | Grammy-winning duo Daft Punk break up after 28…

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Music | police with batons approach israel-hamas war protesters at uc santa cruz, music | grammy-winning duo daft punk break up after 28 years.

NEW YORK — Grammy-winning electronic music pioneers Daft Punk have announced that they are breaking up after 28 years.

The helmet-wearing French duo shared the news Monday in an 8-minute video called “Epilogue.” Kathryn Frazier, the band’s longtime publicist, confirmed the break up for The Associated Press.

Daft Punk, comprised of Thomas Bangalter and Guy-Manuel de Homem-Christo, have had major success over the years, winning six Grammy Awards and launching international hits with “One More Time,” “Harder, Better, Faster, Stronger” and “Get Lucky.”

Bangalter and de Homem-Christo met at a Paris school in 1987. Prior to Daft Punk, they formed an indie rock band named Darling.

They officially formed Daft Punk in 1993, and the helmeted, mute and mysterious musicians released their debut album, “Homework,” 1997. They first found success with the international hit “Da Funk,” which topped the Billboard dance charts and earned them their first Grammy nomination. A second No. 1 hit and Grammy nomination followed with “Around the World.”

Daft Punk spent time touring around the world and reached greater heights with their sophomore album, 2001’s “Discovery.” It included the infectious smash “One More Time” and “Harder, Better, Faster, Stronger,” which Kanye West famously flipped into his own hit “Stronger,” released in 2007. It won West the best rap solo performance Grammy at the 2008 show, where West and Daft Punk performed together onstage.

A year later, a live version of “Harder, Better, Faster, Stronger” won Daft Punk the best dance recording Grammy — their first win — and their “Alive 2007″ album picked up best electronic/dance album.

But was the 2014 Grammys where Daft Punk really took the spotlight, winning album of the year for “Random Access Memories” and making history as the first electronic act to win the highest honor at the Grammys. The duo won four awards that night, including record of the year for their bombshell hit “Get Lucky,” featuring Pharrell Williams and Nile Rodgers.

“Random Access Memories” was regarded as a genre-bending album highlighted by its mix of live instrumentation, disco sounds, funk, rock, R&B and more. Rolling Stone ranked it No. 295 on their list of the “500 Greatest Albums of All Time” last year.

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