Yes, it's really Daft Punk at their concerts: "It would be stupid not to"
Wed 1st May, 2013 Newsin
“To be honest, I don’t really like collaborating,” Chilly Gonzales confesses. “But you make exceptions for people who are in possession of some true key to the zeitgeist.” He is, of course, talking about Daft Punk, who the pianist, producer and singer worked with on the now very imminent Random Access Memories. Gonzales – who’s also worked with the likes of Boys Noize, Feist, Jamie Lidell and Peaches over a decades-long career – makes for the sixth episode in Daft Punk’s The Collaborators video series, picking up where the likes of Nile Rodgers, Pharrell Williams and most recently Panda Bear left off.
“I’ve always been a tourist in the world of electronic production,” Gonzales explained. “So it really comes down to the fact that I always have to be at the piano if I’m going to contribute something.” Fittingly, then, Gonzales spends most of the video in front of his instrument of choice, previewing some of the chord progressions on the album and talking through the use of harmony. “They’re a very warm, familiar group despite their mysterious image,” he said, praising the robots. “Every musician feels an emotional connection to them and we always have the feeling that they’re ahead of us.” Watch the full video below.
Meanwhile, Thomas Bangalter and Guy-Manuel de-Homem Christo have been doing some talking of their own, giving an interview to French magazine Rock&Folk last week. If your Gallic language skills are up to scratch, you can read the interview in the pair’s native tongue over here. If not, you’ll just have to make do with the one nugget of information we translated from the chat: the pair addressed those rumours that given they’ve got anonymity-ensuring helmets on, it might not actually be Daft Punk getting up on stage for their live commitments.
“It would be possible,” the pair concede. “But there are so few concerts it would be stupid not to want to be cheered by 20,000 people. In 1997, sixteen years ago, we played at The London Astoria. We did the sound-check. I went out. It was full of people queuing to enter. A guy tried to sell me some tickets on the sly. Surreal. In a Buñuel film, we would purchase the tickets, go back and wait. And then it would happen.”