There seems to be a similar symbiosis in the selection of Daft Punk to provide an original score for Tron Legacy, Disney’s sequel to 1982’s groundbreaking Tron. The corresponding cartoon world of Interstella 5555 expands the experience of listening to the music and places already impossibly catchy numbers like “One More Time” into a visual context that makes the music doubly difficult to forget. In addition to Electroma (for which the duo did not compose music), Bangalter and de Homem-Christo have collaborated with Kazuhisa Takenouchi on Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, a feature length Japanese animated film set to the entirety of Daft Punk’s Discovery. Listeners and viewers charmed by the concept don’t always warm to an execution that seems to be the work of actual robots.Īll of these elements make Daft Punk a natural fit for science fiction films. Pure statements like the brilliant album Human After All and film Electroma commit fully to the synthetic inspiration at the root of the band’s output. With masks firmly affixed, Daft Punk is capable of remaining true to the robot concept to such an extent that fans and critics react with confusion. It is a rare measure of freedom that allows an artist to have equal footing in such disparate worlds. For example, Bangalter’s stressful, nausea-inducing solo contribution to Gaspar Noé’s shock film Irreversible would likely never soundtrack a Gap jeans or Apple iPod commercial, as have Daft Punk’s pop songs. As much as the duo has become known for innovative dance music, the degree to which they have controlled their identities allows them the flexibility to exercise various personae at will. By wearing futuristic helmets that obscure their faces during nearly all public appearances, band members Thomas Bangalter and Guy-Manuel de Homem-Christo enjoy anonymity. Daft Punk’s robot shtick has multiple benefits.
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