Back then [in January 1993] I lived with my parents, and I had money from my 18th birthday, 7,000 or 8,000 francs, which let me buy a Juno 106 synthesizer and a small Akai S01 sampler, with a single mono output. My father had also given me a Minimoog and we had found a sequencer, a mixer, and a small compressor. I plugged all of it into a Ghetto Blaster that I had had since I was 11. Everything was put in my room on a folding table, and I had moved my bed into the guest room. In fact, we started doing things with that equipment even before the Darlin’ record came out…
— Thomas on Daft House, his bedroom and DP’s first studio. From Les Inrockuptibles, July 2003 (x)
Anonymous inquired:

Have you heard about the movie 'Eden' yet?

Yes, I’ve heard, and I’m very excited! I will be even more excited when I know when it’s going to be available in the US.

Daft Punk Interview, 1997
NRJ - On the Web
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Daft Punk’s interview with NRJ On the Web, September 1997. Posting again because thebiophone has graciously translated the whole thing! So everything beyond this point is completely not mine:

NRJ: Eternally maniacal friends of cyber, of high-tech culture, of modems, crazies over appreciating electronic collections, of the internet in general, welcome to the website for NRJ for an interactive NRJ activity. A first, an exclusivity, an interview exclusively broadcast on the web, NRJ.fr. So, obviously this event [adjective], the guests are here, listen to me, in terms of cyber, of new technologies, of techno music, we could say that we can’t do better, as I present to you Daft Punk: Thomas, Guy-Manuel, hello!

Thomas: Hello!

Guy-Man: Good evening.

NRJ: So, I remind you that we are live on the internet, which means that, potentially, we have millions of listeners. You could be caught in one corner of the planet or the other in this gigantic spiderweb that we call the web. So, there are people who don’t necessarily know you except by your music, which is the most important—

DP: *quiet noise of agreement*

NRJ: —So we’re in agreement. So, for you to briefly describe for the know-nothings how you met, how you began.

Thomas: … Ummm, we met about ten years ago…

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Daft Punk for the death of rock and roll - Translated

From Rage, February 1997. I split this up into paragraphs because it was just huge unending blocks of text.

Thomas and Guy-Man talk about raves, live shows, making music, and the innovative nature of electronic music. Thomas proclaims that he loves rap music and then confidently predicts the modern-day iTunes Store (a year before the first digital music store launched). He also adds that they planned to take into account “all the dimensions of a room” in venues for their upcoming live shows, something they still did in 2007 (see the Alive 2007 show in LA where they manipulated the accent lighting around the entire stadium).

Scan by ifcwdjd, see her bulk article downloads for full-resolution.

Daft Punk for the death of rock and roll
by Philippe Roizes

Chapter I: Or how two young Frenchmen barely in their twenties were able to set off an inferno with a handful of tracks, to spice things up, consciously or not, and become one of the best surprises of early 1997. Chapter II: Or the same two prove that it’s useless to cling desperately to the dying rock and roll relics and that it’s much more exciting to corrupt dance floors.

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Hello everyone; just wanted to apologize for posts being so few and far between. They will probably slow down even more for a week or two because I’m moving to a new apartment while starting a new semester of school and working 25 hours a week. On top of that I’m dealing with my Macbook taking about 5-7 minutes just to open a new browser tab, and now my air conditioning at my apartment is broken. Just to give you an idea of how awful that is:

Hopefully posts will be more regular soon. Also, reminder you only have a little over 2 weeks to enter the giveaway!

Thank you as always for following. :]

Magic’s 1992 Interview with Darlin’ - Translated

From the January 1997 Magic Magazine article:

17-year-old Thomas and a strangely talkative, sassy 18-year-old Guy-Man talk about their favorite bands, performing, and recording Cindy So Loud and Darlin’ 2.

Scan by ifcwdjd. The whole 1997 article can be read here.



Excerpt from Magic Mushroom #5, from the article “Spécial Douce France”, Fall 1992.

Darlin’ has been around since February ‘92. But Guy-Manuel and Thomas — 18- and 17-years-old! — have been friends since middle school, sharing the same passion for the Beach Boys, Love, and T.Rex. They recruited, through a classified ad, Laurent, guitarist (and leader of Tugboat Star, another very promising band).

Tell us about your demo…
Guy-Manuel (vocals): We recorded the demo with a Revox [a brand of tape recorders]. Live in one take, all alone: it really sucks!

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I forgot to add to my last post that thebiophone helped me with the translation!!! I’m so sorry; I will add it now.

Daft Punk: Disco Inferno! - Translated


This is a very long article from Magic Magazine, January 1997. It’s probably the most in-depth history of DP from Darlin’ to Homework I’ve seen from this era, though they do mess up and say that the famous “daft punky thrash” review was in NME. They call Guy-Man a “loudmouth” at one point which is kind of hilarious. It’s especially interesting to hear the boys talk about that period between The New Wave and Homework, where they said they had to kind of step back and try to keep a level head in the midst of unexpected fame. Thomas describes their choice to become anonymous as a way to “protect ourselves”. Another fun fact: Crydamoure was going to be called “Magnet” but the name was already taken.

There’s also an old interview with them and Laurent from 1992 as Darlin’ in a side panel, which I will be uploading later.

Extra special thanks to thebiophone for help with translating! Scan by ifcwdjd; you can download the whole article in her bulk article downloads.


Daft Punk: Disco Inferno!

Two kids have been shaking up the world of “dance music” — on their own terms — for two years now. From London to Chicago, from Paris to New York, Daft Punk rouses the same excitement. With the release — finally — of Homework, this amazing duo’s first album, back on track without fail by Thomas Bangalter and Guy-Manuel de Homem-Christo, two gifted people who are today princes of the underground, tomorrow favorites of the general public.

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One of the first times [they played us their music], Thomas showed me a Ghetto Blaster. I said, “Where’s the speakers for the studio?” And he pointed to a Ghetto Blaster and said, “That’s it.” And I was like, “Whoa, whoa. Wait a minute.” He goes, “Well, you know if it sounds good on that, it’s going to sound good on anything.” So, I guess he had a point.
— Stuart McMillan, one of the founders of Soma, on Daft Punk’s initially basic equipment (x)

From archived versions of an old Daft Punk fan site: http://www.multimania.com/maxtoan