Robots give their second interview - so who's willing to say ‘Daft Punk sucks!’?

00:00 Nov/30/1999

“In Scream 2, they have this discussion about how sequels always suck,” says Thomas Bangalter in an interview published in the May issue of GQ. “The thing we can ask ourselves at some point is like: We’re making music for twenty years. How many bands and acts do you have that are still making good music after twenty years? It always sucks – almost always, you know?” The usually reserved Guy-Manuel de Homem-Christo wasn't much of a talker this time around again, adds: “So our new album is supposed to really suck.”





The thing is, the masterclass hypethon has gotten everybody on their tiptoes. 'Human After All' left a number of fans relatively cold. How do you win these listeners back? Do the robots really plan on that anyway? Glimpses of 'Get Lucky' unleashed a chain of reactions, ranging from resentment towards them distancing from electro in favor of disco to people instantly jumping on board the disco train.


“It’s always this thing where we’re constantly waiting for something that will come in electronic music that says, ‘Daft Punk sucks!’,” Bangalter shares his thoughts on the subject. “That’s actually much more interesting and exciting than someone who is paying homage.”


Bangalter further discusses the relation of the expectation and their work, saying: “We did Homework as a way to say to rock kids, like, ‘Electronic music is cool.’ Discovery was the opposite, saying to the electronic kids, ‘Rock is cool, you know? You can like that.’”


The Creators Project videos provides us with facts about the recording process in time and space. The temporal dimension suggests longevity, with nothing rushed in the production room, which by the way included some pretty impressive vintage equipment. The space dimension suggests recording in L.A., New York and Paris. The connection with other beings suggests legendary collaborators like Giorgio Moroder and Nile Rodgers. Even in this sense, the album is reminiscent of passed times. An expensive endevour the robots took on themselves:


“In the history of pop music, a lot of great records cost an enormous amount of money,” Bangalter says to GQ. “There used to be a time where people that had means to experiment would do it, you know? That’s what this record is about.”


Watch the fifth episode of The Creators Project, and get Panda Bear's perspective on working with Daft Punk!







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