The aliens They are often the raw material for apocalyptic scenarios. There were, however, two aliens who inspired the opposite. Two beings who —under the name of daft-punk— demonstrated that humanoids can offer a catastrophe-free future.
But there is something that does not quite agree with that futurism nice of martian parties. daft-punk announced its end when the party was just beginning. They literally self-destructed in their farewell video, which they posted to their networks almost a year ago, shortly after Elon Musk announced that Tesla would make the first manned mission to Mars. That day it became clear that the space party that they imagined in the video clip of one more time it was not among Tesla’s plans.
Guy-Manuel de Homem-Christo and Thomas Bangalter began the journey of daft-punk in 1993, when electronic music put rhythm to a restless world of new experiences after decades of belligerent music and ideological.
Ricard Robles experienced that from a strategic area for joint development between the electronic music, the indie music and the pop world: the Barcelona Sonar Festival. As co-founder of this meeting, he remembers the time he decided to sign the Parisian boys to perform on a stage for six thousand people. In interview with The Sun of Mexico, admits that he did not know if daft-punk was going to fill the forum, but decided to trust though home work It had only been on the market for a few months.
“Honestly, the overwhelming public interest was a surprise to us and to many. daft-punk It was an artistic proposal of the festival, of course relevant in commercial terms at that time, but never before had a dance music band —a duo in this case— awakened such a broad and massive fervor. daft-punk created audiences. And by the way, in that performance they still did not use helmets or pyramids or extraordinary sets. It was a real ecstasy 100% musicOaks recalls.
What was conceived in that final stretch of the 1990s was the beginning of a transgression technology and music on a large scale, according to Diana Santorelli in her book Daft Punk: A trip inside the pyramid (2014).
Thanks to home work (1997) —suggests Santorelli— hundreds of producers turned to the electronic music to see it not as a gourmet delicacy, but as a dish of universal taste that could satisfy almost any palate.
“home work appears and breaks the mold: with an audience devoted to dancing, his proposal is to review and crush sounds that come from farther in time and land on the electronic Culture, using its newest sound aspects. daft-punk come back to funk, disco, hip-hop, electro and to other sounds that, although massive, were somehow always underestimated by the belligerent rock culture”, explains the co-director of Sónar.
What came next was a transition from daft-punk into a hit machine. Behind a Martian iconography that allowed them anonymity, the robots assumed the role of the robot sympathetic that pushes you towards a future that is always desirable, always better, like the R2D2 noble that always extends the hand.
With the entrance of the new millennium, the most human humanoids made songs that were mantras. They sang about the possibility of making digital love a reality a decade before Tinder (Digital Love). And they also imagined, several years before rockets were invented SpaceX, what would a more resistant, more efficient, stronger and faster transport look like (Harder, Better, Faster, Stronger).
“Somehow those robots—the characters created by daft-punk—idealize a kind of friendly future that then, before the end of the millennium, was still somewhat idealized. I suspect, however, that in the end it was a way of preserving their intimacy, of putting a certain distance to continue leading the kind of life they pursued, “says Robles.
Somehow the french duo musicalized the race technological that today makes Amazon deliveries, self-driving Mercedes, cryptocurrency investments, and Mick Jagger-dancing robots possible. Coincidence or not, his first formal Album, home work (1997), saw the light the same year that Sergei Brin and Larry Page came up with the idea of using a mathematical term to name their crazy invention: Google.
Musically, the revolution was not minor either. Exactly 25 years ago, on January 20, 1997, daft-punk was inaugurated as the great promise of the pop from a trench to which few, very few, had resorted: the electronic music.
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Often associated with experimentation and the avant-garde, the electronic genre it was still niche music in the 1990s. Many balked at the idea that a machine could make them dance. In Silicon Valley, however, there were people who glimpsed that and much more. That same year, just eight months after da funk Y around the world became generational hymns, Steve Jobs assumed the definitive reins of Apple.
What they pursued, in the end, was the same goal: to humanize music. His last album, Random access memories (2013) —which curiously avoids that computer space where the data that is only used at the moment is stored— is an ode to the black music of the 20th century that they themselves buried and revived as many times as they wanted.
It is clear then that, for daft punk, the past was always present, and the future, a place where they always were.