DAFT PUNK

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The electronic duo decided to engaged against the flow of this period with their fourth album, oldschool superproduction, recorded with instruments and quantities of guests. In galactic exclusivity, Guy-Manuel and Thomas explain themselves.



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Welcome to the 21th Century, friend readers. Sit down in the theird millenium, yes, on the rug, we hear the basses much better.

Our story begins March 3rd 1951, in a freezing studio in Memphis, Tennessee. Ike Turner and his band set their gear at 706 Union Avenue. The producer is Sam Phillips, only 28 years old, he'll found Sun Records a year later. While Jackie Brenston heats his voice, a problem appears: guitarist Willie Kizart's amplifier died in the travel. We try... The amp spits, but Sam Phillips laughs, amused, he suggests to keep it on the tape.

The title "Rocket 88" recorded that day by the small team is considered par numerous historians like the first tangible moment of a rock'N'roll recording, because of this accidental distortion, boosting the band's sound. The story repeats itself in 1958, and this time it's the Indian Shawnee Link Wray who stabs with a screwdriver multiple holes in the speaker of his amplifier so that it can make a curious fuzzy sound " that reproduces in studio the noise of live". Comes out Phil Spector, first mad scientist of pop: considering that two drummers make a lot more noise than one, he builds a wall of sound with two drummers, four pianist, five guitar players, and seveteen tembourines. Not so practical.



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In Great Britain, another pioneer named Joe Meek builds echoe chambers, distortion and sampling. His glorious achievement ("Telstar") doesn't stop him from commiting suicide in 1967. What follows is known. The little fuzz pedal becomes an institution with "(I can't get no) Satisfaction", first signature of Keith Richards who's got for pal the opening of the Pandora box of sound. From the boom of the sixties bands, we remember The Who, first of alls to burn their instruments in the search of the red barbarian note in touch with their speed drugs, but also The Troggs, this evidence.

Jimi Hendrix (again an Indian, Cherokee), will be the one to contribute the most: wah-wah, Univibe and suramplification, Hendrix spreads fire to thousands of guitarists, an army of guitar explorers. He leaves a perfect testimonial, the double album "Electric Ladyland."



Lou Reed, John Cale and Zappa work in dementic atmospheres and accoustic ambiances. Golry and honnor to Velvet Underground and to the émothers Of Invention. Pink Flyd spatializes our little rooms and finally popularize (?) the sterophony. But we should mention Dylan, always in search of what he called "the very subtle sound of Mercury", the Beatles and the labyrinthic "Revolution N.9".

Grows crazy and very talented students of the second generation: The Move, little pop masters, whom 45" revives the Beatles'dream recently evaporated.

In Detroit since 1969, the Stooges are the first garage band to benefit from the fat sound. They create a (messed up) frustrated sound, primal, urban that will be the generator of the future punk revolution.

Jimmy Page, since the first Led Zeppelin tour, builds the song "Dazed and confused" that lasts more than twenty minutes in certain concerts and includes the use of the Theremin, mixed to the feedback of the guitar.

White Noise, first group "all synthesiser" experience, releases on Island the album "An Electronic Storm" (1969), that strangely mixes infra-sounds and recording of sexual exctasy, with many groupies consents.

Since many years, all soundic Europe envied us Pierre Henry (from Groupe de Recherche sur les Musiques Concretes -Research Group on Concrete Musics), "Ceremony", his collaboration with Spooky Touch, stays inforgettable, given an only time in concert at the Olympia.

In Febuary 1973, your host is seated in the ampitheater of the faculty of Nanterre. Everybody is here: Paul Alessandrini, Jean-Francois Bizot, Richard Pinhas, JP Lentin, Jacno, Maxime Schmitt, etc, when arrives in a gritty sound the duo Kraftwerk, and the first wall of synthetic machines.... Kraftwerk takes again the revolution where it almost started.

Really inspired by that krautrock, Jawkwind starts the trend of drones troubled by the claps of synthesisers. Their bassist Lemmy will then further push the concept of "everything louder than anyone" in the Motorhead trio.

Let's not forget David Bowie who, from 1977 to 1979, gives a last touch on his berlin trilogy, doubled by two elegant Iggy Pop solo albums that works, between shhhs (?) and parasistes, an ultra modern and blowing rock, with the help of the usual suspects: Brian Eno and Robert Fripp.

Of all punk bands, we mention Sex Pistols, because of the inoxydable sound wall that created Chris Thomas, ingeneer of the Beatles and Pink Floyd, for them...

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