The pair’s press engagement has been particularly cultivated to maintain this “media reluctance” narrative. In Daft Punk’s case, it resulted in often uneasy relationships such as the robots’ involvement in global advertising campaigns, and many Daft Punk interviews issued by media outlets that repeatedly assured us that they rarely give interviews. Theirs was a stance fraught with contradiction – and one maybe familiar to many working in arts and culture who find their rejection of consumer culture operating within the same market-driven constraints. Yet despite what they might have claimed, with arena tours and cameos in Disney movies, Bangalter and de Homem-Christo were far from being “anonymous”. In this sense, I believe Daft Punk have become an example of an “ anti-celebrity celebrity”.
It is not a compromise.” Anti-celebrity superstars That combination hides our physicality and also shows our view of the star system. If we have to create an image, it must be an artificial image. “We don’t believe in the star system,” Bangalter stated. Shutterstock/Kraft74įlorian Schneider and Kraftwerk helped shape the sound of modern music
Yet alongside this superhero version, Daft Punk also cited the conversion as being their response to fame.īetter to burn out than fade away: Daft Punk announce retirement after nearly 30 years. Specifically, that the explosion of an electronic music sampler in 1999 had transformed them into their robot alter egos. Like the electronic group Kraftwerk before them, these cyborgs further celebrated the electronic, automated characteristics of their music, while at the same time orchestrated a mythology in conjunction with technology’s all-pervasive influence.īangalter even presented an origins story in which he claimed that the duo’s appearance was the result of an accident. What began with Bangalter and de Homem-Christo using various masks to hide their discomfort within photoshoots – obscuring rather than projecting a specific image – was eventually resolved when they reinvented themselves as androids. “If you can stay protected and get noticed then it’s all good”, he told journalist Suzanne Ely in 2006. It was an approach that saw the pair hiding behind their alter-egos but going on to conquer the world of electronic music at the same time.Īs the more vocal of the two, Bangalter has indicated that this method was fundamental to Daft Punk’s self-preservation. Over the past 28 years, Thomas Bangalter and Guy-Manuel de Homem-Christo (the men behind the helmets) developed a complex and counterintuitive communication strategy.
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