daft punk

• aleyna tilki ile versus yapacak zeka seviyesinde tiplerin başlığını kirlettiği epic grup.
  daft punk vs aleyna tilki yapmak, "bizim mahallede bi abi var bruce lee'yi döver" demek ile aynı zeka seviyesinin işi.
  kızdım, daft punk dinleyelim de sakinleşelim.
  görsel
• aramaya inandım ama bulamadım. stylophone denen oyuncakla-ben demiyorum sanatçı diyor- bazı şarkılarının çalındığı muhteşem bir elveda parçası bırakıyorum
  bırak
• daft punk’ın 2001 yapımı hit albümü “discovery”yi konu alan bir kitap hazırlandı.
  
  gazeteci-yazar ben cardew tarafından yazılan daft punk’s discovery the future unfurled isimli kitap, 22 şubat 2021’de 28 yıllık birlikteliklerine son veren fransız ikilinin diskografisindeki en popüler albümle ilgili ilgi uyandırıcı ayrıntılara yer veriyor.
  
  daft punk üyeleri yollarını ayrılmadan önce hazırlanan kitap, ikili ayrılma kararı aldıktan sonra yeniden elden geçirildi ve piyasaya çıkış tarihi bu nedenle beklenenden geç bir tarihe sarkmış oldu.
  
  velocity press’in yayımcısı olduğu kitap 25’ten fazla röportajın yanı sıra daft punk’la yapılmış ancak daha önce hiç yayınlanmamış bir röportajı da içeriyor.
  
  elektronik müziğin bugüne ulaştığı şeklinde yaklaşık 30 yıllık kariyerleri boyunca çok önemli izler bırakan daft punk’a saygı duruşu niteliğindeki kitap, basılı ve e-kitap formatlarında piyasaya çıkacak. görsel
  
  bu bağlantı aracılığıyla ön sipariş verebilirsiniz.
• çok başarılı bir grup idi. fakat elektronik müziğin ilahı demek doğru olmayabilir . o kategoride kraftwerk olabilir
• kabul ediyorum adamlar inanılmaz yetenekli emme albümlerinde çaldırdıkları adamlar da aşırı yetenekli. hatta ve hatta adamların en ünlü şarkılarında hep bulunan bir isim var ki bence daft punk'ı daft punk yapan adam budur.
  
  (bkz: nile rodgers)
  
  merak edip bakarsanız bu abiye esas grubu chic'tir. samplelayadur çocuk.
• bu zamana kadar yaptıkları tüm albümlerde buna human after all albümü de dahil hep funk müziği temel alınmıştı. random access memories ile tamamen bu kültüre saygı duruşu ile çıkardıkları albümle belki planlı belki değil ama kitlelerini inanılmaz büyüttü. ilk albümleri homework'ün techno/ house havası ikinci albümde french house'un kurallarını yazacak discovery'e bırakmıştı (aynı sene çıkan modjo'nun aynı adı taşıyan albümü arada kaynadı tabi). random access memories albümünden önce 8 senede sadece 400.000 satan konsept albüm human after all ise baştan sona mucizedir.
  
  bu kadar grammy almış albümün bir öncesindeki iş bu kadar az satmış öte yandan bu albüm hem robotlarımızın imajını tam anlamıyla oturtmuş hem de efsane alive 2007 turnesinin bel kemiği olmuştu. kısacası belki kendi içlerine bu albümü yaparlarken etkilendikleri insanları şereflendirmek ve katıksız bir albüm yapmak istemişlerdir (contact parçası hariç hiçbir sample kullanılmadı albümde). yediden yetmişe açıldığın an, get lucky'den sonra bir television rules the nation parçası patlatırsan seni yerden yere vuracaklardır. hatta bunlar bozmuş diyeceklerdi. o yüzden akıllıca bir karar verip hiçbir kötü işe imza atmadan en underground kısımdan en popüler kısma kadar kendilerini sevdirdiler ve dağılarak zirvede bırakmış oldular.
  
  1993-2021
• en sevdiğim parçası ouverture olan oluşumdur. adeta gece şehirlerarası yolda 110 ile gitmelik şarkıdır kendisi.
• societyadlı fransız dergisindeki makaleyi reddit‘teki u/micilico adlı kullanıcı ingilizceye çevirmiş:
  
  makalenin bulunduğu sayfaların fotoğrafı
  
  --- spoiler ---
  
  here's the translation, i decided to translate it with deepl since there was almost 10k words :p enjoy !
  
  part 1:
  
  they lived as robots, they died as robots. as they announced their separation this last february after nearly 30 years of collaboration, the daft punks never wanted to reveal anything that could hide behind the music of the biggest pop group of the xxı century. and yet, thomas bangalter and guy-manuel de homem-christo were human, after all. with their friends who carried them, their obsessions and their cracks who for a long time, brought them together, before slowly pulling them apart since the immense success of their ultimate album. here is their last years, from the release of random access memories to the announcement of their separation. from grégoire belhoste and raphaël malkin/ ıllustration: hippolyte jaquet for society. page 22 the bathroom is lined with marble, columns frame the patio, and from the pool, between the palm trees, you can see the california desert. nestled in one of the silent, sun-drenched lanes of rancho mirage, a millionaire's oasis bordering the city of palm springs, the property was built in 1957 by bing crosby. ın his heyday, the famous crooner liked to give lavish receptions where the hollywood elite, led by frank sinatra, gathered, and it is said that the place served as a refuge for the forbidden love affairs of john fitzgerald kennedy and marilyn monroe. an old legend that made daft punk smile when they took up residence in the big house in april 2013. on the occasion of the coachella festival, whose tents are only a few kilometers away, the columbia record company decided to lodge here, and at its own expense, the cult duo, with cooks in addition. years ago, when thomas bangalter and guy-manuel de homem-christo were still only hopes of the french touch, another major had a limousine sent to the new york airport to receive them. frightened, the two boys snuck away in a simple yellow cab. times have changed since then. this time, thomas and "guy-man" brought with them to the rancho mirage villa the few people who have made up their inner circle for years, guardians of the daft punk temple between paris and america. "we were like a family, and it was quite moving to be there," says producer todd edwards, whose first collaboration with the frenchmen dates back to the album discovery, in 2001. thomas bangalter is wearing a straw hat, we're bubbling in our bathing suits and we're having lunch at noon. "the bar was well stocked. ı spent my time preparing piñas coladas using pineapples and coconuts that we had delivered". smiles peter franco, daft punk's resident sound engineer. when dj falcon, whose first tracks were released on roulé, thomas bangalter's old label, flies down from the flat roof of the house to dive into the pool, everyone applauds the show. one afternoon, the star pharrell williams rings the doorbell of the funny summer camp. "the guy came in like a flower with his diamond-studded phone and his bodyguards," recalls antoine ressaussière, an artistic director who met daft punk when they were playing music in the techno halls of rennes. at the same time, in the half-light of the living room, warren fu, the director of the last clips of the group, puts the final touch to a mysterious video. then, once the work in box, all the troop embarks in a column of vans with tinted windows, direction coachella. ıt is 8:30 pm now, the sun has just set. from the vıp area of the festival, the daft-without their helmets and their friends watch the big screen of the main stage light up all of a sudden. ın immense, like a surprise intermission, the montage urgently finished by warren fu starts to scroll. we see the images of the now "hit" get lucky, with pharrell, nile rodgers and the robots in suits studded with sequins, a series of golden names are displayed, from julian casablancas to panda bear through giorgio moroder, and finally, an announcement. the reason for this california trip to rancho mirage. "random access memories, the new album by daft punk." huge cheers echoed in the burning night. after years of silence, daft punk is back, and the festival crowd is going wild, lurking in their corner, thomas bangalter and guy-manuel de homem-christo are arm in arm, happy. "we were fascinated by what was going on. ıt was a masterpiece that was happening," says todd edwards, who has a feature on the 13 tracks on random access memories. we were like, this is a new daft punk adventure that's starting." at that precise moment in the spring of 2013, absolutely no one could imagine that ram could be the duo's very last album. that after that, there would be nothing left. years later, another video. placed on a black screen, a title announces the continuation: "epilogue". somewhere in an arid plain, a robot -guy-manuel de homem christo- blows up another one - thomas bangalter- with a time bomb. posted online last february 22, this sequence announced the breakup of daft punk after almost three decades of a common history almost without equivalent in the pop chronology. as soon as it was known, the news spread like wildfire on all continents. millions of fans were moved in chorus. some were sorry that this conclusion was not very glorious: the video is only a brief sequence of shots taken from the famous daft punk's electroma, a feature film made by the band in 2006. others have repeatedly told themselves that the whole thing doesn't make sense. wasn't random access memories supposed to mark a new turning point in daft punk's career? like thomas bangalter page 23 had once exposed him to the pundits of columbia, the daft had made an unexpected turn by thinking ram as a melancholic tribute to their teenage passions for disco and funk of the great years. against today's digital facilities, they had built their project with the meticulousness of craftsmen. each bar, each melodic line, had an instrumental color. everything was recorded on large tape cassettes, with multiple takes in order to capture just the right amount of groove and sensitivity. the saviors of pop? "daft said the industry was sick of technology. for them, this album was an antidote. their analysis was extremely simple and also extremely powerful", explains stéphane le tavernier, who was managing the french segment of columbia at the time. but behind it, there was nothing, except years of silence and a feverish expectation that finally shattered. and the question that is now on everyone's mind: what happened during the eight years between the release of daft punk's masterpiece and its separation? september 2013. after promoting random access memories all over the place, daft punk are back in the shadows of their regular life. separately. with his wife, the actress élodie bouchez, and their two boys, thomas bangalter lives in a beautiful mansion in the center of paris. at the beginning of the school year, the elder son enters a public school in the neighborhood. ıf daft punk was there that day to accompany him, nobody must have noticed. ın paris, thomas bangalter enjoys the anonymity that his masked persona has allowed him to maintain despite his band's huge success. the daft punk, who likes to tinker, is used to walking to the bhv on the rue de rivoli, a stone's throw from his home, and for longer journeys, he has a vélib' card. more practical than the old matra he bought years ago because it looked good, but which he put in the garage long ago. as in any other period of his life, thomas bangalter devotes most of his time to music. ın gang, the parisian studio where a part of ram has been polished, the musician never stops testing the possibilities of his machines, among which a polyphonic modular synthesizer that he tweaked himself. a treasure, since in this genre, one usually finds only monophonic functions. on obscure forums that he browses at home, in a small office that he recently had fitted out, or in the library, in books whose names speak only to him, half of daft punk also chisels his theoretical knowledge. "ıt's like he lives in a bubble. he only talks about specialized brands, reverb quality," his friends summarize. he's an extreme perfectionist." to put it in perspective, thomas bangalter is the kind of guy who can spot a tiny flaw in the capabilities of a compressor known to all. "at the time, the suppliers were totally freaked out when they heard about this," laughs dj falcon. the engineers finally admitted to their bosses that they had made a change in the products without telling anyone. thomas was the only one who noticed." for his part, guy-manuel de homem-christo lives in an apartment on a hillside in montmartre, where there is seventies-inspired designer furniture. there are stones, also crystals, which he likes to collect.
  
  part 2 :
  
  for my 40th birthday, he gave me a crystal, telling me that it could create a bridge with ancient greece," says antoine ressaussière. guy-man is down-to-earth, but he also likes transcendental things. a long time ago, we visited mont-saint-michel together, and ı remember that he was very moved by it." ın 2010, after a love at first sight in new york that would ultimately not last, guy-man had suddenly divorced the mother of his daughter and son. ın montmartre, he lives alone, in the company of a french bulldog that he walks in the streets around. but it is on the side of another high altitude that this daft generally occupies his days. from the windows of the 41' and last floor of the tour france, a skyscraper in the suburbs along the seine, one can admire the whole of paris. at another time, it was the singer gilbert bécaud who lived there. today, the place is inhabited by eric chedeville, known as "rico". with guy manuel de homem-christo, they are crydamoure, a label, a group and a friendship that have always existed, even before the success of daft punk "guy-man came to my house, we were like family," explains eric chedeville. ın the small studio he set up for himself up there, in the middle of a jumble of keyboards and pedals covered by a large portrait of bob marley, the two friends spend hours improvising snippets of melodies, as they have always done since they were 20 years old. guy-manuel de homem-christo also makes the top floor of the tower his own personal shed, storing the things that say something about what his life is like these days: the latest cell phones donated by a top brand, a soccer ball signed by
  
  back from los angeles, the daft block the gang studıo all year long. people fantasıze about what's goıng on there, that they're workıng on the next stevıe wonder album or that they're buıldıng a pyramıd of synthesızers. but no daft punk recordıngs come out of the studıo.
  
  page 24 of the two robots, guy-manuel has always been perceıved as the more fragıle, the tortured and melancholıc soul of the group. he ıs almost shy and awkward
  
  the french team, or even the gq magazine's man of the year award. unlike his daft partner, who, as a full-time family man, is never really in the mood to go on a binge, guy-manuel de homem-christo is often in the mood to do so when he doesn't have his children with him. "guy-man had a hard time with his divorce. he was alone and wanted to go out, to air his head. he would send messages like: 'what's the party tonight,'" says a friend. several nights a week, the daft punk of montmartre finds himself toasting in the dark of some of the trendiest clubs in paris, such as the silencio. "at the time, it was our way of life," explains eric chedeville, who often accompanied his old friend on his outings. at 20, we spent five days out of seven going out. we told ourselves that our whole life would be spent in clubs." so goes the life of the two daft punk at this moment of history. away from the success of their album, at the rhythm of their routine, as if nothing had happened. and each one on his own, therefore. "ıt's not the simpsons, they're not always stuffed together," explains antoine ressaussière. what makes them binds, it is no longer a friendship, but a spirit. they share a territory." but it wasn't long before daft punk found each other again, and not for nothing. at the end of 2013, guy-manuel de homem-christo and thomas bangalter were about to put on their headphones in public for the first time in ages. competing for four awards including "best album of the year," they are on the 2014 grammy awards program. on stage at the staples center in los angeles, they will form one of the most majestic ensembles in history. everything is agreed upon: in addition to nile rodgers and pharrell williams, who will accompany them as on the album to play get lucky, daft punk will have the totem stevie wonder at their side. a way to celebrate their retro aspirations for eternity. "ıt's like kids watching star wars and 30 years later making a movie with george lucas," says dj falcon.
  
  sunshine, long boulevards, palm trees and that feeling that summer never ends: this is los angeles, daft punk's home town. "thomas and guy-man have always been inspired by la. ıt's all about the vibe," says producer todd edwards. thomas bangalter took himself of passion for the megalopolis of the pacific coast in the early 2000s, when his wife, élodie bouchez, had just landed a role in the series alias and was trying to get her american career off the ground. some time later, the couple bought a house in the hills, not far from the "hollywood" sign. with their two children, they lived there for several years and if they then moved to paris, they chose to keep this pied-a-terre where, since then, they like to stay in the summer. guy-manuel de homem-christo also enjoys spending the summer in los angeles, but he prefers the ease of rooms in the best hotels, where he keeps making reservations. daft punk goes to the beach, to restaurants and bars, like the one at the chateau marmont, where paul mccartney, also a regular client, always greets them with pleasure. ın los angeles, the nerve center of the star system and the "paparazzi", daft punk nevertheless managed, as in paris, to enjoy an anonymity without any cracks, which not only relaxed them, but also made them laugh sometimes. one day, a groupie from sunset boulevard is the victim of this. peter franco did not recover: "we were drinking together on the patio of a club and, suddenly, a young girl came in furious and said in a tone of confidence: 'you know what? ı hear daft punk are here. ı'm desperately looking for them. thomas and guy-man acted as if they were excited: 'ıt's not true? where are they?' they vowed to keep an open he and go look for her if they found the robots. when she left, we all exploded with laughter." for the grammy awards, daft punk were soon joined in los angeles by a few parisian friends who had come especially to applaud them, such as dj falcon, eric chedeville and daniel vangarde, thomas's father, also a producer. the little band, along with daft punk's californian circle, met up in the hills at thomas bangalter's house. at the edge of the swimming pool, we listen to music, and the master of the place makes smoke the barbecue by serving rounds of amaretto sour, his specialty. good moments that only last for a while. because soon, daft punk will have to go to the office. ın addition to being a place to relax, los angeles is the headquarters of their career. for almost ten years now, daft arts' offices have been located in the heart of the angeleno checkerboard. at the corner of sunset boulevard and la brea avenue, the address is the same as that of the studios occupied long ago by charlie chaplin. today, the walls are owned by the jim henson company, named after the creator of the muppet show. guarded at its entrance by a huge statue of the frog kermit, the show's star character, it's a complex in the shape of a millefeuille where recording studios (one of which daft punk recorded a part of ram) are next to large film sets and henson's puppet laboratory. nothing on the outside indicates any daft punk presence, and not much more on the inside. ın the duo's offices, wallpaper representing the surface of the moon adorns one of the rooms. ın a corner, there is a console and the game fıfa, which, during their exhausting work sessions on ram, served as an outlet for the group. on the shelves, only a few knick-knacks evoke page 25: guy-man jumping in the pool page 26
  
  ın 2018, wıthout alertıng the medıa, thomas bangalter reorganızes the legal entıtıes lınked to the group. he wıthdraws from hıs posıtıon as co-manager of the lımıted company created ın 1996. then he sıgns the dıssolutıon contract of the calıfornıan company daft arts the identity of the tenants: robot figurines and life-size helmets. ıf thomas bangalter and guy-manuel only go to los angeles occasionally, the daft arts headquarters is occupied every day by two people who are certainly the only two who know all the secrets of their story. paul hahn, first of all, the american manager who deals with the current affairs of the group, the contracts, the rights, the dollars. cédric hervet, then, an intimate since high school in paris, the creative right-hand man behind the group's visual explosions, and who some even call "the third daft", as if to better signify his degree of closeness to thomas and guy-man. ın the final stretch before the big night of the grammy awards, daft punk stopped by to say hello to their loyal collaborators in the sunset and la brea offices before leaving for a final rehearsal in a discreet studio in burbank, a suburb of los angeles. nile rodgers and pharrell williams are still there, as well as all the instrumentalists who accompanied them during the recording of ram. they had asked them, in an unprecedented exercise, to rehearse sequences of loops imagined on the job. "the genius of daft punk was to manage the unpredictability of this process perfectly. they left space for god to enter the room," says drummer omar hakim, longtime partner of michael jackson. stevie wonder, for his part, sent an understudy capable of copying his flights of fancy on the microphone so as not to weaken his chest. a few days before, the legend animated with a little too much fervor the party given at the white house for michelle obama's birthday and almost cancelled his participation at the last minute.
  
  part 3 :
  
  january 26, 2014 evening. dressed in custom-made white suits and specially crafted helmets from a hollywood workshop, daft punk drove to the staples center in a limousine sent by the grammy awards academy. ın the dressing room where they've been seated, family and friends flinch as their favorite show starts to rattle before it even gets started. while the tv commercials are playing, the stage crew can't get the neon lights to work on the set, a long structure that looks like a recording studio from the days of motown and stax records. already, during the rehearsals on stage, there had been a few hitches: technical problems and a set assembled backwards. the publicity has only a few seconds left but the light still doesn't come. a little more and daft punk will find themselves playing in the dark for their big comeback. "ıt was a total panic. and then, as if by a miracle, just before the airwaves resumed, the lights came on. unbelievable!" says dj falcon. even if stevie wonder has a few stuttered tremolos in his voice behind his keyboard that betray his recent excesses, get lucky and the few other songs played in medley afterwards are a true recital. the rest of the performance is in the same vein: thomas bangalter and guy-manuel de homem-christo win all the awards they were nominated for. "before receiving the award for best album, the daft first hugged each other so that the collaborators of the record had time to all go on stage. what elegance, anyway," says dj falcon, co-producer of contact, the thirteenth and final track on ram. all that's left to do is enjoy a night of weightlessness. at the park plaza hotel in los angeles, the grammys board threw a big party and daft punk were the kings. on a high promontory, dj falcon and todd edwards were djing, while an array of five-star celebrities were parading along the bars below. madonna and fleetwood mac singer stevie nicks pass by. on the dance floor, whose phosphorescent tiles recall the movie saturday night fever, an old man dances like a disjointed puppet: paul mccartney. while thomas and guy-man chat with their friends, jay-z and beyoncé wait patiently to congratulate them. years earlier, the rapper had invited the daft to a concert backstage at bercy and then collaborated with them on the soundtrack of the movie tron for a song, which was eventually released on the sly. ın the ear of the two frenchmen and their entourage, jay-z whispers that he has always dreamed of doing a whole album with them. "ıt was strange and funny at the same time, surreal", tries to explain peter franco. a little amused and also a little moved by what is happening around them, without their masks among idols who treat themselves as idols, daft punk definitely change dimension that night. a little later, at the los angeles airport, sunglasses on the nose, the duo is followed by the powerful paparazzi lenses, like any other music celebrities. "you could see them from 100 meters away with their equipment. they were everywhere, as if water suddenly entered the daft boat," says dj falcon.
  
  not surprisingly, daft punk's razzia at the grammy awards has whetted appetites. all the sponsors in the world dream of associating themselves with the group. advertising, soundtracks, merchandising: proposals for collaboration are coming in from everywhere. and the interested parties send each of them away page 27 : car in garage page 28: with the same coldness. the guys are absolutely not venal," says antoine ressaussière. they might be very rich, but most of the money they have they spend on their music. years earlier, a major car manufacturer had already contacted the group to ask them to use one of their songs to illustrate its new television campaign. ın exchange: a check for 500 000 dollars. guy manuel de homem-christo immediately refused the deal with a shrug. he said: "ıt pollutes, that? ıt's crap, we say no' cane was not interested at all. he cared about what we could say". continues antoine ressaussière. ın the same way, daft punk apparently sent disney executives packing, because they wanted to put the group's name on a roller coaster in one of their theme parks. the daft have actually turned their minds to a much more important issue: the possibility of a tour. seven years after the extraordinary sound and light of alive, which is said to have laid the foundations of what an electronic music show should be today, it is a question of imagining how to stage the vintage symbiosis of ram, with its thousand and one little orchestral details. "one day ı got a call from their management, who asked if ı might be interested in touring," recalls drummer omar hakim. "but of course, they contacted guitarist paul jackson jr. who was another studio collaborator of the band. they were looking for a crazy amount of money to set up the project" he remembers. "ıt seems to me that thomas documented himself a lot at that time and that he dug all the new technologies, of which the possibility of having recourse to the holograms, clarifies antoine ressaussière. nothing was elude, but the daft did not find a technical solution and finally did not launch a tour." a handful of loyal fans crossed the ring road to celebrate guy manuel de homem-christos' 40th birthday with his family. there were friends from air, phoenix, gildas loaec, who is now the head of the kitsuné brand, and also pedro winter, gaspar noé and kavinsky. of all of them, the hero of the day is perhaps the one who is in his head, farthest from the studios. one of his friends has just completed the shooting of the feature film les portes du soleil, whose cast features a duo of celebrities who have fallen out of favor: smain and lorie. an improbable action film in which it is a question of a reformation of the oas, secret agents and big banditry. the director jean-marc minéo even offered himself the luxury of a sequence with the legend mike tyson, guy manuel de homem christo agreed to offer the film an unreleased song, composed with eric chedeville. this does not look like the tactical move of a pop star of his standing but rather a gesture of friendship towards the director, whom daft punk has been seeing for a decade, "this is guy-man. he accepted the project because he is sincere. he didn't realize he was a daft" confirms chedeville, mineo, world champion of kung fu in the 80's then stuntman for johnny hallyday in the 90's, became a friend of the band when he came to complain about the noise that was escaping from the studio plant in front of his apartment in the rue durantin, on the heights of montmartre. very far from electronic music, he only really understood who guy-manuel de homem-christo and thomas bangalter had become in 2007, when the two musicians invited him to attend one of their concerts at bercy. until then, they had never mentioned the name of their group to him. the sign that it is rather the martial arts which links them. guy-manuel, in particular. ı even believe that he went one day to take a course with a shaolin monk installed new york, exposes jean-marc minéo. we did kung fu together for ten years, three times a week. we did not caress each other. he is a real practitioner, he could do a fight without any problem. guy-manuel is a born puncher. at the time of the gates of the sun, daft punk would have liked to spend some time with mike tyson, but the meeting didn't happen. for a while, he also had ambitions to have tyler, the creator rap on the track in question, but that didn't materialize either. anyway, this collaboration remains for him like a breath of fresh air, far from the charts, money and reputation issues.
  
  solo. guy manuel de homem-christo follows the same line as with his group: he refuses any collaboration proposal. even if he is relentlessly sought after since he offered his services as producer, with eric chedeville, to sébastien tellier, in 2008, on the torrid sexuality. ın the offices of the record companies, his name is evoked as soon as it is a question of insufflating a "neodisco" patte to an album of french variety with a consequent budget. only charlotte gainsbourg managed to get a "yes" from daft punk. one day, eric chedeville receives a call from the singer's label. he answers that he does not think that his friend will be interested, but this one interrupts him against all expectations to tell him that if. produced at the tour france with chedeville, the result will be rest three minutes and 38 seconds that appear on the album of the same name, released in 2017 ıt is also in the tour france that is born, a day of march 2014, the ultimate success of daft. "guy-man is a great artistic director. the one you never meet, which does not exist, so good he is, says chedeville. he can stay in the studio for hours until you hear him say, in a small voice: 'not bad, the last two chords. and then, we are sure d 2000 that it is good. that's his genius, plus he's hyper-creative and very good at making rhythms that groove hard." that's exactly what's happening that day. sitting in front of his synthesizer, on a low seat, erie strings together chords at random until, at the other end of the room, wiggling on a chair with wheels, guy manuel, long hair and polo shirt close to the body, stops dead in his tracks: "that's not bad." with a rhythmic composed by daft punk, the loop becomes a one-minute demo recorded under the name of rose in chedeville's computer. ın a contract signed shortly afterwards under the daft arts heading, the latter authorizes guy-manuel to use all the loops composed together in recent times, in exchange for rights.
  
  part 4 :
  
  page 29: time goes by and these studio drops are forgotten. until daft punk meets a certain abel makkonen tesfaye during a party in los angeles. the man better known as the weeknd organized a party at the fashionable club 1 oak to celebrate the release of his album beauty behind the madness. the current goes so well between the canadian star and the frenchman, that it is quickly question of combining the talents. and it is on the model rose and the chords of rico that the weeknd chooses to pose voice of velvet and to record a piece with the duet, for what will become ı feel ıt coming planetary hit of the year 2016, except that at this time there eric chedeville does not know anything guy manuel de homem-christo e him would have then ceased to speak to each other. chedeville would have learned that his compositions had been included on the album of the weeknd by a message from the producers of the duo. what happened? around the group, we elude, we confess to rely for a long time some friends: "when they are rejected from a club, daft go their way, but in their entourage, there are always to say that it is them. they don't understand the protection mechanism. they have celebrity impulses." now away from the daft punk galaxy, rico still enjoys the phenomenal success of feel ıt coming, one of the biggest hits of the decade. e.conomically, first: at the time of sharing the cake, a percentage of the rights on the bulletin sacem returns to him. artistically, then, since he receives for this song an ascap pop music award in los angeles, issued by the american society for the management of copyrights to the composers of the greatest hits of the moment, as well as a bmı award in london. but he has not at the grammys: this day, it is the helmeted duo that appears on stage all dressed in black to accompany the weeknd in what will be his last public appearance. from michel berger to jean-jacques goldman, this place, full of history, has seen many of the top names in french pop come and go over the last 40 years. with its perfect acoustics and wooded cocoon decor, the parisian gang studio serves as a sound laboratory for the most ambitious pop experiments. back from los angeles for good, daft punk decided to make it their new den and rented the whole studio some time after the release of random access memories. the place is now locked up year-round by the band, who have enlisted the services of local sound engineer florian lagatta, who is said to have signed a confidentiality agreement. the small world of french music fantasizes about what might be going on behind the walls of the boulevard de l'hôpital. what are daft punk doing are they writing new material are they alone? ıt is sometimes said that the band is working on the next stevie wonder album, it is whispered that they are building an extraordinary pyramid of synthesizers. maybe because none of them are doing well. guy-manuel de homem christo is said to be brooding, just out of his divorce and felted from the inside by a depression. ıt is necessary add to that the well loaded joints that he sometimes sends himself in the afternoon, at the aperitif, or in the evening. the musician has not changed his habits since his adolescence, but as time goes by, it has become less and less easy to take. guy-manuel frequently consults a psychotherapist. of the two robots, he has always been perceived as the most fragile, the tortured and melancholic soul of the group guy manuel de homem christo is almost sickly shy, his relatives describe him as full of ideals but not very confident when he is in society. ıt's stronger than he is: he doesn't feel comfortable with many people, and sometimes even chooses to laugh about it. "and yet, ı had taken a gurons . he pretends to apologize one evening, after a birthday dinner where he didn't say a word. guy-man needs to create a somewhat intimate territory to give himself up to someone," says antoine ressaussière.
  
  after rico, daft punk has found someone to turn to in the person of mike levy, met through kavinsky and now one of the key figures of the french electro scene under the name of gesaffelstein. "gesa" is a good ten years younger than guy-manuel. he wears dark clothes that make him look like a prince of darkness in the darkness of nightclubs. but if their friendship strengthens with the liking of the night drives, they share much more than a simple penchant for the parties. like daft punk, gesa shuns the lights. "people say guy-manuel is shy, that he always stays in his corner. so am ı. maybe that's why we became friends," he admitted. both have in common a rather radical way of considering music. "we have the same approach. what matters is the mystique of the music. guy-man makes it sacred. he has a respect for the emotions that music gives, the melancholy that it brings out," gesaffelstein continues. so here they are, naturally, together on the path of musical creation. while he was preparing his album hyperion, gesa made his sidekick listen to several loops that he kept in his computer. guy-manuel de homem-christo chooses one of them, which his friend takes the liberty of sending to the weeknd, still him. the canadian sends him a model in return. gesaffelstein puts it aside, until daft punk offers him one day to help him to make a real piece. the three of them finally met at gang's to put the final touch to their common draft. no one had been told when he learned of theır separatıon, gesaffelsteın wrote to homem-chrısto. "he replıed: 'ıt happens. everythıng has an end, ıt lasted 28 years
  
  part 5 :
  
  page 30: guy man and thomas in the studio page 31:
  
  the track is completed after a long and meticulous session as de homem-christo likes them, during which the toronto singer will have laid his voice a big hundred times. hurt you appears at number five on the tracklist of the weeknd's 2018 ep my dear melancholy. ıt's a hazy production, driven by a heavy beat and ending with menacing sirens, like an echo of the epic sounds of atlanta trap music. ıt sounds like them. gesaffelstein and daft punk love american rappers with tormented flows, future in the lead. they went together, at the end of 2014, to see the latter mumbling his sorrows and his addiction to opiates in the spans of the bataclan. thomas bangalter is not so interested in all that. the other daft punk also records with gang, but his collaborations have little to do with hip-hop. ın the studio, he brings a disco spirit to the works of his friend matthieu chedid or the group arcade fire. but what he is most passionate about is the art of filmmaking, where his mania for understanding the finer points of machines can be fully expressed. as a former partner of guy-manuel de homem-christo's little brother in the buffalo bunch duo, musician romain séo has known thomas bangalter for over twenty years. he has observed him collaborate with the most inventive young filmmakers of the moment, such as spike jonze and michel gondry, directors respectively of da funk and around the world, two of the group's videos released in 1997. "at the time of homework, thomas was already a film buff. ıf someone had told me he was a film school student, ı wouldn't have been surprised," says this close friend. afterwards, daft punk composed music on several occasions for his director friend gaspar noé. there was also the ufo daft punk's electroma, screened in 2006 at the cannes film festival, then other experiments, such as an ad for the clothing label co, shot by bangalter in the early 2010s. "thomas is still geeking out over the image. he's always looking for new cameras to buy and can travel to a country just to get a lens, like a world-class cinematographer would," romain séo continues. for the needs of a video of his new band, my dear, romain séo was lent a modified super 8 by thomas bangalter in a specialized store in los angeles. another time, it was matthieu chedid that daft punk helped out with one of his old machines. this kind of material is piled up at his place, according to his research. thomas bangalter has bought himself, for example, a calibration station. to learn more and more, he sometimes goes to specialized libraries to read technical books, and he even made the pilgrimage to the dark basements of the kodak factory in rochester, new york, where film is made and stored. there, the daft took the time to discuss the lost treasures that fascinate him so much, such as the imposing cameras used to shoot the analog blockbusters of the 70s or 80s. anything but a coincidence, then, if one of bangalter's last public speaking engagements took place at the 2018 cannes film festival, during an evening tribute to septuagenarian cinematographer edward lachman, whose talent has sublimated works by wim wenders, sofia coppola or steven soderbergh. "dear ed, with a camera, you make music for the eyes," he said in a handwritten message broadcast on a giant screen. ıt does not take more, in his entourage, to conclude that the cinema took precedence over the music. while the craziest rumors about a new album still rustle around, thomas bangalter and guy-manuel de homemchristo seem to go their separate ways, as if the band no longer exists outside of the fantasies it generates in the industry. ın 2018, without alerting the media or the general public, thomas bangalter decided to reorganize the various legal entities linked to the group. ın march, he stepped down as co-manager of daft music, the limited liability company created in 1996 to collect the french rights to their music. during the summer, he then signed the dissolution contract of the californian company daft arts. but the document at the center of all the discussions comes out several months after these administrative formalities. ıt is a contract supposedly signed with their label, columbia records. the detailed list of songs of their next album appears, as well as the names of famous guests like their idol brian wilson, the star of the beach boys, but also john cale, cassius or stevie wonder. the news spread around the world at the speed of a click, before being denied just as quickly. ıt is in fact a fake, with an unknown origin. no one knows it yet, but daft punk are now making headlines in the music press for the last time before their separation
  
  early 2021. when daft punk contacted him, the director warren fu was stunned. his mission was confidential, to say the least: the videographer had to make a cardboard box marking their separation, in order to insert it during the extract of the film daft punk's electroma that they wanted to broadcast to mark the occasion. "ı was in shock, "laetıcıa hallyday had saıd that she would have dreamed of attendıng the last daft concert. who else would have been there? macron, sarkozy. dechavanne, nagut? ımpossıble. ıt's very good that ıt stops lıke thıs'' antoine ressaussière, artistic director page 32:
  
  there was a tıme when they arrıved on stage ın a flyıng saucer-lıke pyramıd, but tıme has passed them by. thomas bangalter ıs saıd to dıslıke socıal networks, cryptocurrencıes and tech gıants. daft punk uses a flıp phone
  
  very sad, but at the same time ı thought this concept was a nice way to pay tribute to their magic. the idea was to show the energy between the gold and silver hands that represented the collaboration between thomas and guy-man," he says. this work executed, the news falls as a cutter for millions of fans: daft punk, it is finished. several months later, nobody around the group has forgotten the magnitude of the explosion. because nobody, or almost nobody, had been put in the confidence. gesaffelstein hurriedly wrote to homem-christo. "he wrote me back something like, 'ıt happens. everything has an end, it lasted 28 years. antoine ressaussière, for his part, immediately contacted his friend and collaborator gildas loaëc, who was in tokyo and snoozing early in the morning. at the stroke of 10 pm, as he reviews old photos lying around on a hard disk, tears cloud the eyes of this old accomplice, whose first parisian pied-à-terre was the flat-share of guy-manuel de homem-christo, cédric hervet and a few others, not far from the place de clichy. the memories of twenty years of companionship suddenly come back to the surface: the versace sape races on the champs-élysées, the clubbing, the vacations in california, and countless other moments of celebration and music. the very next day, the team of the 50' ınside program seeks to obtain his exclusive testimony. thousands of kilometers away. from there, when he wakes up in los angeles after the announcement, three texts appear on todd edwards' smartphone: one from his manager, another from an old friend in new jersey, and a last one signed by cedric hervet. dj falcon, finally, remembers that his phone "started to explode". the musician, based in biarritz, had to go to béziers that day to buy a synthesizer and had taken advantage of the trip to wander around the area. he had had fun observing the pink flamingos along the coast and had pushed the stroll to the cathedral of narbonne, under the vault of which he thus received "50000 messages". ı didn't think it was true," he says. then we all called each other with our friends: cédric, gildas, and ı got thomas, who told me: 'there, it's over. ı thanked him. thanks to him and guy-man, we had an extraordinary adventure."
  
  part 6:
  
  nobody in the ranks of daft punk knows if this adventure could have lasted longer. ıf the reasons behind the end of the duo belong only to the two men, their close relations have nevertheless had time, these last weeks, to think of hypotheses. perhaps the duo had come full circle and had reached the end of a coherent whole with ram, a monumental album in which they played the funk musicians they had enjoyed sampling 20 years earlier. "they were already asking themselves questions after the grammy awards: 'can we do better than this? ı was surprised and at the same time, it was normal: they need to surpass themselves, to bring something new, and maybe they had the feeling that they had explored everything in the daft punk project," suggests dj falcon. that june, antoine ressaussière spoke to thomas bangalter on the phone. ıt had been a long time since they had spoken. daft punk, appeased, spoke to him about all these groups that stay together more out of habit than anything else, managing their merchandising without doing anything else. he wasn't interested. "ı don't think the times are right for daft punk anymore," adds ressaussiére. frankly, they're not going to make a get lucky 2 that they're going to promote on tik tok by doing choreography dressed as a robot. ıt's not serious. ıt's a romantic ending to a romantic band, in a time that is much less romantic. they had the good taste to stop before they did stuff that bothered them." streaming, apps, selfies, that's not them. even though at one time they arrived on stage in a flying saucer-like pyramid and seemed like perfect embodiments of the future time has finally passed them by. thomas bangalter is said to look askance at social networks, crypto-currencies, nfts and, more broadly, the new billion-dollar technology giants. one example among many: in recent years, daft punk has shunned smartphones, preferring to use an old flip phone. "he wouldn't receive the images ı sent him, ı had to email them to him. ıt made me laugh. but there was almost a stylistic will behind this flip phone. a global idea of mastery. daft punk don't have an iphone, they want to have their hands in the engine, and there's nothing worse than an iphone for someone who wants that," theorizes artist xavier veilhan, who created a sculpture representing the musicians in the mid-2010s. as always with breakups, it's also about life paths that diverge. when he heard the news, todd edwards
  page 33 : guy man on the building in paris
  
  page 34 : was one of the only ones not surprised. because he had kept in mind one of his conversations with thomas bangalter in the summer of 2017, along sunset boulevard. his french friend then mentioned the growing interest of guy-manuel de homem-christo for rap and its production, not necessarily his cup of tea. ın the late 2000s, when recording stronger, a featuring between kanye west and daft punk, the american rapper had spent hours in the studio watching porn movies on a loop, which had kindly made the two frenchmen hallucinate. above all, bangalter wanted to explore something more organic," says edwards. and then, there is also certainly the desire to take the pressure off about the need to do something, to have to deal with the public's expectations". antoine ressaussière concludes, without regrets: "ı saw that laeticia hallyday had declared that she would have dreamed of attending the last daft punk concert. who else would have been there? macron, sarkozy, dechavanne, nagui? no way. ıt's very good that it ends like that." while the history of pop music is marked by chaotic, not to say infernal, breakups, it seems that here, everything happened in courtesy. there was never any question of clashes, fights or hostility the two daft, according to their relatives. before the pandemic closed the concert halls, the two colleagues still went to the parisian concerts of tame ımpala or blood orange. the duo still sees each other on a few occasions. last summer, they spent time together under the sun of cap-ferret, surrounded by their respective children. a little earlier, guy-manuel de homem-christo had gone to the birthday of the eldest son of his friend. daft punk would have even exchanged messages around this famous february 22, 2021, amused by the farcical interpretations related to their separation. this does not prevent their career from now being drawn alone, each in his corner: guy-manuel should in the future produce figures of american rap, while thomas is currently working with the ısraeli dancer and choreographer hofesh shechter on a work related to the next film by cedric klapisch. todd edwards also suggests that his friend, before the pandemic, had "started a new project", which he allows himself to whıle the hıstory of pop musıc ıs full of chaotıc breakups, there was never any questıon of clashes, fıghts or underhanded hostılıty between the two daft
  
  something different, far from the mainstream. an art project, in a way, from a musical and visual point of view, too. ıt's a real cerebral experience, against the saturated market of today's music in the way it's presented. this can't be replicated or stolen. ıt's unique." like others, the californian believes above all that thomas bangalter will one day get back behind the camera, to make his own film. until then, one thing is certain: no matter what form they take, the two artists' new creations will not be a rehash of what homem-christo and bangalter have created together over the past 30 years. the daft punk project is all about the chemistry of the duo. "thomas is a genius but he can have a doubt. when he has to choose between the vulgar and the not vulgar hit, he always needs guy-manuel. thomas is unable to do anything on the level of daft punk without him, and vice versa," says a friend. now that the band has bowed out, only shared memories bind the two robots and the constellation of friends gravitating around them. shortly after the funeral of half of cassius, philippe zdar, a key figure of the french touch who died accidentally in june 2019, thomas bangalter went to dinner in the parisian restaurant run by his friend and former manager, marco marzilli. with other old grunts of the electro movement, such as hubert blanc-francard, étienne de crécy, pedro winter or pépé bradock, they discussed at length the time before and this collective history built together. "we told each other our memories, our beginnings, which go back to antiquity, our first machines, all that we lived together. when the time came to separate us, thomas looked at us as if we were watching an old family movie. he looked up and stared at the horizon: ı had forgotten all those stories. finally, around this table, we are each the memory of the other," says blanc-francard in boombass: a history of the french touch, an autobiographical book to be published in a few weeks. dj falcon was among the guests that night. one of the strongest moments engraved in his memory goes back to the days following the end of the recording of random access memories. together with thomas bangalter, they had sat down at the gang studio to listen to the entire album, and in particular to their epilogue track, contact. ıt's a sort of long climb, like the hum of a rocket taking off. "at the end of this track, the speakers in the studio, unique machines in the world and made to measure, finally gave out, it was so intense, he says. with thomas, we did not speak. we exchanged a knowing smile, turned off the studio lights, and left. the faithful hears in this final a farewell message left by his friends. "ıt's as if the robots were getting back into their ship to head back to their planet." all words collected by gb and rm, except where noted
  
  --- spoiler ---
  
  bittiyse buyurun bir doz horizon alın.
• rockstar games'in 2003'de çıkardığı midnight club 2'nin müziklerini dinlerken listede thomas bangalter'i görmemle ufak bi' dumur oldum.
  turbo
  extra dry ve
  outrun parçalarında bariz discovery ve human after all arasındaki geçiş sürecinin sound'u var. outrun discovery'de kullanılan sample'ları hatırlatıyor, extra dry'da ise human after all'daki robotik vibe hissediliyor.
• robot kafalı cool ikonik herifler