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VINIL Universal Records Daft Punk - Homework

Cod produs: 724384260910
  • Disponibil in stoc. Poti comanda acum!
Pret: 150 RON
  • 24 luni
    Garantie 2 ani
6 RATE Raiffeisen Bank
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3 RATE Alpha Bank
3 RATE Garanti Bank
3 RATE Star BT
1997

Pitchfork: "Daft Punk’s debut, the duo’s greatest illusion yet."

BBC:"Homework could have been a superb 40-minute album, but at almost twice that length there are definite longueurs. For every bagatelle like High Fidelity or Phœnix, though, there’s a gleaming techno machine like Alive ready to hover into view and throw you forward into an LED-coated future of Kanye samples, Grammys, Tron soundtracks, movies and pyramids. The rise of the robots started here."

Prezentare generala VINIL Universal Records Daft Punk - Homework

1997

Mixed and recorded @ Daft House, in Paris, France.
Mastered at The Exchange, in London.

Mastered By – Nilesh 'Nilz' Patel
Lacquer Cut By - Nilesh 'Nilz' Patel

Gatefold embossed 'Daft Punk' logo on sleeve with colour printed inner sleeves.

Tracklist:
1 Daftendirekt
2 WDPK 83.7 FM
3 Revolution 909
4 Da Funk
5 Phœnix
6 Fresh
7 Around the World
8 Rollin’ & Scratchin’
9 Teachers
10 High Fidelity
11 Rock’n Roll
12 Oh Yeah
13 Burnin’
14 Indo Silver Club
15 Alive
16 Funk Ad

 Image result for Daft Punk

BBC:"Even before they pulled a Kraftwerk and turned into robots, Daft Punk’s talent for mythmaking was as precocious as their production skills. They first passed a cassette of their music to Stuart MacMillan, co-founder of the Scottish techno label Soma, at a Euro Disney rave in 1993. Then, following the release of just two singles, Parisians Guy-Manuel de Homem-Christo and Thomas Bangalter were snapped up by Virgin and set to work on their debut album.


When Homework arrived in 1997, Britpop’s wane was too incipient to be detected and dance albums tended only to cross over into the UK’s guitar-centric mainstream if, as Leftfield, The Chemical Brothers and Underworld had shown, vocals were included to leaven all those repetitive beats. Perhaps it has something to do with Homework’s success, then, that one of its few vocal tracks happened to be Around the World, one of the decade’s catchiest singles.

The track is a perfect example of Daft Punk’s sound at its most accessible: a post-disco boogie bassline, a minimalist sprinkling of synthetic keyboard melody and a single, naggingly insistent hook. While the vocal performs that role on Around the World, elsewhere the same effect is achieved using a wide variety of sounds: Da Funk’s acidic wah-wah guitar line; the torturous squeal that powers the aural battery of Rollin’ & Scratchin’; a sustained fragment of guitar distortion carrying on the ocean breeze of Fresh; the woozy oscillations and slicing percussion of Indo Silver Club.

Just as distinctive as the less-is-more approach to each track’s elements is Homework’s love of compression, a sonic tribute to the FM radio stations that fed Daft Punk’s youthful obsessions. Such extreme use of attack and release, augmented still more by a predilection for filtered basslines and astringent hi-hats, establishes a distinctive tension between bass and treble that’s become as key to their sonic palette as their referencing of 70s disco, 80s pop and 90s techno.

Homework could have been a superb 40-minute album, but at almost twice that length there are definite longueurs. For every bagatelle like High Fidelity or Phœnix, though, there’s a gleaming techno machine like Alive ready to hover into view and throw you forward into an LED-coated future of Kanye samples, Grammys, Tron soundtracks, movies and pyramids. The rise of the robots started here."

Image result for Daft Punk


Pitchfork : "Homework is, in its pure existence, a study in contradictions. The debut album from Thomas Bangalter and Guy-Manuel de Homem-Christo arrived in 1997, right around the proliferation of big-beat and electronica—a twin-headed hydra of dance music fads embraced by the music industry following the commercialization of early ’90s rave culture—but when it came to presumptive contemporaries from those pseudo-movements, Homework shared Sam Goody rack space and not much else. Daft Punk’s introduction to the greater world also came at a time when French electronic music was gaining international recognition, from sturdy discotheque designs to jazzy, downtempo excursions—music that sounded miles away from Homework’s rude, brutalist house music.

In the 21 years since Homework’s release, Daft Punk have strayed far from its sound with globe-traversing electronic pop that, even while incorporating other elements of dance music subgenres, has more often than not kept house music’s building blocks at arms’ length. 2001’s Discovery was effectively electronic pop-as-Crayola box, with loads of chunky color and front-and-center vocals that carried massive mainstream appeal. Human After All from 2005 favored dirty guitars and repetitive, Teutonic sloganeering, while the pair took a nostalgia trip through the history of electronic pop itself for 2013’s Random Access Memories. Were it not for a few choice Homework tracks that pop up on 2007’s exhilarating live document Alive 2007, one might assume that Homework has been lost in the narrative that’s formed since its release—that of Daft Punk as robot-helmeted superstar avatars, rather than as irreverent house savants.

But even as the straightforward and strident club fare on Homework remains singular within Daft Punk’s catalog, the record also set the stage for the duo’s career to this very day—a massively successful and still-going ascent to pop iconography, built on the magic trick-esque ability to twist the shapes of dance music’s past to resemble something seemingly futuristic. Whether you’re talking about Bangalter and Homem-Christo’s predilection for global-kitsch nostalgia, their canny and self-possessed sense of business savvy, or their willingness to wear their influences on their sleeve like ironed-on jean-jacket patches—it all began with Homework.

It couldn’t possibly make more sense that a pair of musicians whose most recent album sounds like a theme park ride through pop and electronic music’s past got their big break at Disneyland. It was 1993, and schoolboy friends Bangalter and Homem-Christo’s rock band with future Phoenix guitarist Laurent Brancowitz, Darlin’—named after a track from the 1967 Beach Boys album Wild Honey that the three shared an affinity for—had disbanded after a year of existence that included a few songs released on Stereolab’s Duophonic label. (Melody Maker writer Dave Jennings notoriously referred to their songs as possessing “a daft punky thrash,” which led to the pair assuming the Daft Punk moniker.)

While attending a rave in Paris, Bangalter and Homem-Christo had a chance encounter with Glasgow DJ/producer Stuart McMillan, the co-founder of the Soma Recordings dance label; like any aspiring musicians would, they gave him a demo tape of early Daft Punk music. The following year Soma released Daft Punk’s debut single “The New Wave,” a booming and acid-tinged instrumental that would later evolve into Homework cut “Alive.”

A follow-up, “Da Funk” b/w “Rollin’ & Scratchin’,” hit shops in 1995; according to a Muzik profile two years later, its initial 2,000-platter pressing was “virtually ignored” until rave-electronica bridge-gap veterans the Chemical Brothers started airing out its A-side during DJ sets. A major-label bidding war ensued, with Virgin as the victor which re-released “Da Funk” as a proper single in 1996 with non-Homework track “Musique” as its B-side. During this time, Bangalter and Homem-Christo casually worked on the 16 tunes that would make up Homework in the former’s bedroom, utilizing what The Guardian’s Ben Osborne referred to in 2001 as “low technology equipment”—two sequencers, a smattering of samplers, synths, drum machines, and effects, with an IOMEGA zip drive rounding out their setup."

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