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Interview with Daft Punk

by Dave "the Wave" Dresden


DMA: Your album has been out in Europe for quite some time now, and has been quite well reveived -- I'm looking at the figures here, debuted at #8 in England, top 10 in France, top 20 in Germany...how has this changed you from these bedroom producers into a album-selling band?
Thomas: It hasn't changed us. It's only been two months now, and we've been travelling and promoting the record and haven't seen it yet; meet the audience or whatever. We're starting to prepare the tour now which will begin in May and that will change some things, not about us, but maybe about realising what has happened since the record has come out.

DMA: You guys started as an indie band called Darlin. Were you both in the band.
Thomas and Guy-Manuel: Yeah.

DMA: What instruments did you play?
Thomas: The bass.
Guy-Manuel: Guitar.
DMA: Since you guys are from a rock'n' roll background, can audiences expect more of a interactive live show than they usually get from electronic dance artists?
Thomas: The way we'd like to tour, apart from doing this DJ tour, which is a very underground thing, is to show to people something new. Our show may be shorter here than it is in Europe, because there is a delay in the way people respond to our kind of music here in America. The people in Europe may be more ready for a longer show, but as far as our stage presence, it's myself and Guy-Manuel up on stage with our equipment with no DAT or prerecorded sequences -- everything is done right there.

DMA: What do see as the differences between the European audiences and from what you've seen, American audiences?
Thomas: It's just the delay in how people get aquainted with the sound. In our country it took time and it started up later in America. More or less, the underground scene here is as it is anywhere in the world, this is a very international music, but still the UK is really ahead, and France's scene really started up in the early '90's, and from touring, we can see that the sound is more or less appreciated from country to country. It's a little like the industrial revolution of the 19th century, each country it took a different time for each to become modernized.

DMA: Do you think America right now is ready to accept an album like Homework as an entire work in the pop mainstream, as it has been appreciated in Europe?
Thomas: We'll see. As I told you, some of these people are ready, some are starting to be ready, and some are not ready at all. The difference is, we have countries who are on different evolutions, so there are different stories, but at the same time, they are more or less together simultaniously worldwide. Of course, in some countries, it is not working because the scene hasn't started yet. That's why we're wondering how we'll do in America right now.

DMA: Do you two feel that you have essentially kickstarted the French dance music scene, or are you a sign of how much it has grown in the past five years?
Thomas: We're not gonna say 'yeah, we're the leaders!' I think the answer to your question is 'maybe', but maybe the good reactions we've had from the outside world have been motivating people to make dance music in France -- but I don't think we are leading the way.

DMA: What would you attribute the lack of dance music production in France prior to your breakthrough single and bidding war last year?
Thomas: (long pause to munch on his KFC) It was probably the stereotypes people had about French music in general.
Guy-Manuel: The way that techno and house music are not totally legal in the eyes of the public may have something to do with it also. We are trying to put some credibility to what we are doing. You can't say that it's totally there in the mainstream. You still have people talking negatively about it...

DMA: Like that song on Homework, "Revolution 909" Is that your statement to the French government regarding their anti-stance on dance music?
Guy-Manuel: I don't think it's the music they're after, it's the parties...

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