that time guy wore a string-vest-shirt-thing


Doodle on little piece of scratch paper is my bad habit

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The Best Tours of All Time: Alive 2006/2007 (Daft Punk)

"Dance music is not cool. It has the worst fonts, the worst artwork – let’s not forget what a rave flier looks like. And then here come Daft Punk with these crazy videos, beautiful album art. They have a flash and an elegance that other dance acts envied."

- A-Trak, Rolling Stone 2013 (x)

Electronic duo Daft Punk were no strangers to bringing a sense of theatricality to the music world but they upped the ante when they designed their Alive 2006/2007 World Tour. Their first tour since 1997, Thomas Bangalter and Guy-Manuel de Homem-Christo incorporated video and light effects along with their now-iconic pyramid to highlight a setlist that covered their entire discography.

They debuted the pyramid at Coachella on April 29th, 2006. Their tour took them to 20 countries over the course of two years, concluding in Sydney, Australia on December 22nd, 2007. They released a live album, Alive 2007, in November of the same year. The album is a recording of their June 14th performance in their hometown, Paris, France.

The tour has served as a muse to many artists including Skrillex and Jay Z and has changed the landscape of electronic music performances ever since, many would say for the best.

(via thombang)


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…


you were cool until you started to talk with that weird kid

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Interviewer: Do you also go dancing?

Guy-Man: We’re the ones standing at the bar.

Thomas: Sometimes we just go dancing. You know, in really small, enclosed rooms, where just a few fit. We like that.

From Intro Magazine, May 1997 (x)

(via spectrumpsionic)

And yet, technology is this wonderful thing. We are definitely using it on the record in a much more invisible way,” Bangalter noted. “A song like `Touch’ with Paul Williams has 250 tracks on it and it’s something we couldn’t have done without the most updated computer technology around. But technology today has a really limited shelf life and we wanted to try to go back, or bring back a certain timelessness of the music.

-Thomas Bangalter, The Huffington Post

Omg,…250 tracks in ONE SONG. I am forever in awe of these two. Imagine editing and rearranging 250 tracks for ONE SONG. I like to joke around about these two robots, but the humans behind them are pure and undisputable geniuses.

(via justturnonthemusic)

Sitting at a courtyard picnic table at the Jim Henson Studios in Hollywood, site of their Daft Arts production offices, Bangalter responds thoughtfully to most questions posed to the duo; de Homem-Christo is quieter, less comfortable conversing in English. Both wear basic shirts, ripped jeans and scruffy beards. “We’re like regular blokes,” de Homem-Christo said.

"I think people are really more excited to see the robots than they would be to see ourselves," he added. "It’s like C-3PO or Chewbacca. … I’m a big `Star Wars’ fan but I never wanted to find out who was behind (the characters). And if I did it right now, I would forget his face. It would not interest me. … The robots are far more trippy and opening your imagination than my face or Thomas’ face, and the way we live, which is not even a crazy celebrity lifestyle."

Guy-Man, The Huffington Post

This interview is great, seriously. Here’s another gold snippet(literally gold, actually). Guy, I can tell you, you are correct. As fine as you are, if I saw you or Thomas in person without the masks, I wouldn’t approach you in the same way as if I saw you guys all dressed up, sparkly heeled boots, studded Saint Laurent jackets and all.

(via justturnonthemusic)


avoids homework really hard


avoids homework really hard

(via chezgorman)