Thomas on stage at the first Global Tekno festival - Paris, June 21, 1995 (x)
This is an article from the German music magazine Musikexpress (April 2005) which to my knowledge does not yet have an English version! I’ve been wanting to do this for some time now, ever since the piece I did for one-additional-time.
There is no download and/or PDF; there’s a sentence or two I haven’t been able to figure out 100%, so I’d appreciate input from any native speakers before I even think about doing that. Otherwise, please enjoy!
(Full size scan here)
"To listen to Daft Club front-to-back is— and it’s pointless to exaggerate here— to watch a loved one be physically dismembered. The poverty of language prevents me from fully recounting these horrors […] so to this end, I’ve called on the doodling acumen of Harvard Lampoon artist Farley Katz in the hopes that he might supplement this tour of Daft Club’s trail of tears with his feted cartoon stanchion."
Thomas and Guy-Man guest DJ for Morning Becomes Eclectic on KCRW in Los Angeles on April 3rd, 1997. This is from the same visit to LA as the horribly awkward Groove Radio interview, except Guy-Man talks more, and in English! (x)
Just a quick update: I’ve added a custom Google search form to my blog so you can easily find content without having to sift through entire tags. It’s at the bottom of the sidebar:
I would if DP were actually doing something right now! I think the internet as a whole has pretty much covered anything and everything on the Grammys. They haven’t appeared publicly since then. Patience, friend! Being a DP fan is all about patience.
As far as content that is not from 2014, I found 2 new audio interviews tonight— in English!— that I will be posting within the next few days. Both are around 17-18 minutes long.
Did you know? In early 1997 Daft Punk became entrenched in a legal battle with the television network France2 after they aired three of their songs (“Da Funk”, “Phoenix”, and “Revolution 909”) several times without permission, mostly in ads for rugby. Thomas: “The last straw was when they used our music in ‘The Mechanic’, a B-movie […] You know the type! They took three tracks! It was really blatant!” Daft Punk’s choice to sue France TV wasn’t “promotional or egocentric, it was angled towards a general interest, or to set a [legal] precedent […] It’s not a question of money, it’s a principle.”
And, indeed, it wasn’t a question of money. According to court papers filed in February, Daft Punk sought a grand total of 12 francs in damages, which today would be around 3 US dollars. The most valuable of their demands, however, was that France2 air apologies to Daft Punk and their music licensing companies, the length of the original unlawful ads, spread over two days. The case made it to the Court of Appeals of Paris, who ruled in favor of Daft Punk in September, and ordered that France2 pay the whopping $3 and air the apologies.
France2, however, wouldn’t back down. They went back to the Court of Appeals in December to try to reverse the decision, a move that DP’s French publisher Delabel called “staggering,” as the decision of an appeals court is considered final. Daft Punk contacted the CSA (the French equivalent of the American FCC) in January 1998 to notify them they would be enforcing the decision and expected France2 to air the apologies.
Finally, in April of 1998, the Court of Appeals ruled that France2’s new appeal was “unacceptable”. France2 was forced to back down, and they finally aired this message, 19 times, on April 10th and 11th: “France2 extends its apologies to Mr. Bangalter and Mr. de Homem-Christo and their dependents for the unauthorized use and advertising of works from their repertoire.”
"On stage, we don’t use pre-recorded tapes or a central computer that runs the machines. We control our instruments live: drum machines, samplers, and synthesizers. There are so many variables that each concert is different. Sometimes, like at Borealis, it doesn’t work. But at least people realize then that we can lose control." - Thomas, 1997 (x)
This show at Borealis was really great but also riddled with technical problems. The worst was this moment at the start of Around The World. They finally get it going but 20 seconds or so later there’s another hiccup with the sampler and the drum machine. Full set: (x)