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In Discovery’s wake, all of them – except perhaps Barry Manilow – became part of the accepted lexicon of mainstream pop once more: it was as if Bangalter and de Homem-Christo had become taste-making arbiters of what was and wasn’t cool, a state of affairs acknowledged by LCD Soundsystem’s single Daft Punk Is Playing at My House, in which an appearance by the duo is held up as the last word in hip. There was music influenced by soft rock, 80s AOR, the same decade’s super-smooth R&B balladry: Superheroes offered a pounding kick drum topped off with a cut-up sample from, of all things, Barry Manilow’s Who’s Been Sleeping in My Bed. At least part of the mixed critical reaction to their song-based 2001 album Discovery was down to the fact that it seemed to be dabbling in musical styles considered deeply unfashionable in 2001. Within a couple of years, Madonna had hooked up with another French dance producer, Mirwais, employed to add a distinctly Daft Punk-ish sheen to her 2000 album Music, and the charts were playing host to a succession of soundalike house tracks – 2 People by Jean Jacques Smoothie, who turned out to be a bloke from Gloucester called Steve Phats and Small’s ubiquitous Turn Around and No 1 singles, Modjo’s Lady and Eric Prydz’s Call on Me among them.īy the time the copyists made the charts, Daft Punk had moved on. In fact, no sooner had Homework come out than other artists started to copy it. The style Thomas Bangalter and Guy-Manuel de Homem-Christo minted on their 1997 debut album Homework – house music heavy on the filter effect, which involved the bass or treble on the track gradually fading in and out, mimicking a DJ playing with the equalisation on a mixer drums treated with sidechain compression, so that the beats appeared to punch through the sound, causing everything else on the track to momentarily recede – is now part of pop’s lingua franca. Overall, the chances of a Daft Punk return performance in 2017 have been cut down just as quickly as they were raised, but we’ll continue sharing news of any developments.I t’s hard to think of an act who had a greater impact on the way 21st-century pop music sounds than Daft Punk. Still, even though we hope he’s wrong, Young’s track record is more than sturdy, forecasting LCD Soundsystem’s return in 2015, and catching wind of Radiohead’s A Moon Shaped Pool before its release. Unfortunately, Alex Young, the founder of Consequence of Sound, has laid waste to these rumors, saying a “well-placed source” told him that Daft Punk was “not accepting offers for 2017” and that they would not be at Coachella, which also denies the possibility of their return to Lollapalooza. We can only continue to hope that the tag’s recent addition meant what we’ve all been thinking. This particular news got folks (including us) riled up with anticipation, especially since the tag’s existence could only be traced to February of this year.
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Next up was the discovery of a tag page for the French duo on Lollapalooza’s main website. Taking a look at the duo’s performance history, 2017 certainly cues up nicely for a long-awaited return, since their previous Alive tours have been in 19-2007.
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We then reported on the numeric odds of Daft Punk returning to Coachella in 2017, at the time chocking up to a 4:1 chance. But that’s already been shut down hard if the robots are returning to the stage, they’re going to be the headliner, not beneath Metallica, The Strokes, or Duran Duran. Shortly after “Starboy’s” release, a supposed lineup leak of Lollapalooza Chile made its rounds throughout the interweb, which showed Daft Punk on the roster. Below is a recap on details regarding the evidence for their 2017 comeback. Since then, the track itself has gone on to garner both praise and criticism, and of course rumors surrounding a return of the famed robots have been a hot topic of discussion. Things have been moving rather quickly over the last week, ever since The Weeknd’s “ Starboy” featuring Daft Punk was released unto the world.