daft punk homework remixes review

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By Larry Fitzmaurice

December 2, 2018

Daft Punk ’s Homework is, in its pure existence, a study in contradictions. The debut album from Thomas Bangalter and Guy-Manuel de Homem-Christo arrived in 1997, right around the proliferation of big-beat and electronica—a twin-headed hydra of dance music fads embraced by the music industry following the commercialization of early ’90s rave culture—but when it came to presumptive contemporaries from those pseudo-movements, Homework shared Sam Goody rack space and not much else. Daft Punk’s introduction to the greater world also came at a time when French electronic music was gaining international recognition, from sturdy discotheque designs to jazzy, downtempo excursions—music that sounded miles away from Homework ’s rude, brutalist house music.

In the 21 years since Homework ’s release, Daft Punk have strayed far from its sound with globe-traversing electronic pop that, even while incorporating other elements of dance music subgenres, has more often than not kept house music’s building blocks at arms’ length. 2001’s Discovery was effectively electronic pop-as-Crayola box, with loads of chunky color and front-and-center vocals that carried massive mainstream appeal. Human After All from 2005 favored dirty guitars and repetitive, Teutonic sloganeering, while the pair took a nostalgia trip through the history of electronic pop itself for 2013’s Random Access Memories . Were it not for a few choice Homework tracks that pop up on 2007’s exhilarating live document Alive 2007 , one might assume that Homework has been lost in the narrative that’s formed since its release—that of Daft Punk as robot-helmeted superstar avatars, rather than as irreverent house savants.

But even as the straightforward and strident club fare on Homework remains singular within Daft Punk’s catalog, the record also set the stage for the duo’s career to this very day—a massively successful and still-going ascent to pop iconography, built on the magic trick-esque ability to twist the shapes of dance music’s past to resemble something seemingly futuristic. Whether you’re talking about Bangalter and Homem-Christo’s predilection for global-kitsch nostalgia, their canny and self-possessed sense of business savvy, or their willingness to wear their influences on their sleeve like ironed-on jean-jacket patches—it all began with Homework .

It couldn’t possibly make more sense that a pair of musicians whose most recent album sounds like a theme park ride through pop and electronic music’s past got their big break at Disneyland. It was 1993, and schoolboy friends Bangalter and Homem-Christo’s rock band with future Phoenix guitarist Laurent Brancowitz, Darlin’—named after a track from the 1967 Beach Boys album Wild Honey that the three shared an affinity for—had disbanded after a year of existence that included a few songs released on Stereolab ’s Duophonic label. (Melody Maker writer Dave Jennings notoriously referred to their songs as possessing “a daft punky thrash,” which led to the pair assuming the Daft Punk moniker.)

While attending a rave in Paris, Bangalter and Homem-Christo had a chance encounter with Glasgow DJ/producer Stuart McMillan, the co-founder of the Soma Recordings dance label; like any aspiring musicians would, they gave him a demo tape of early Daft Punk music. The following year Soma released Daft Punk’s debut single “The New Wave,” a booming and acid-tinged instrumental that would later evolve into Homework cut “Alive.”

A follow-up, “Da Funk” b/w “Rollin’ & Scratchin’,” hit shops in 1995; according to a Muzik profile two years later, its initial 2,000-platter pressing was “virtually ignored” until rave-electronica bridge-gap veterans the Chemical Brothers started airing out its A-side during DJ sets. A major-label bidding war ensued, with Virgin as the victor which re-released “Da Funk” as a proper single in 1996 with non- Homework track “Musique” as its B-side. During this time, Bangalter and Homem-Christo casually worked on the 16 tunes that would make up Homework in the former’s bedroom, utilizing what The Guardian ’s Ben Osborne referred to in 2001 as “ low technology equipment ”—two sequencers, a smattering of samplers, synths, drum machines, and effects, with an IOMEGA zip drive rounding out their setup.

Bangalter and Homem-Christo’s work ethic while assembling the bulk of Homework was of the type that makes sloths appear highly efficient by comparison: no more than eight hours a week, over the course of five months. “We have not spent much time on Homework ,” Bangalter casually bragged to POP . “The main thing is that it sounds good… We have no need to make music every day.” The songs were crafted with the intention of being released as singles (“We do not really want to make albums,” Bangalter claimed in the same interview), Homework ’s eventual sequencing a literal afterthought after the pair realized they had enough material to evenly fill four sides of two vinyl platters. “Balance,” the pair said in unison when asked about Homework ’s format-specific sequencing in Dance Music Authority following the album’s release. “It is done for balance.”

Indeed, Homework is practically built to be consumed in side-long chunks; taking the album in at a single 75-minute listen can feel like running a 5K right after eating an entire pizza. Its A-side kicks off with the patient build of “Daftendirekt”—itself a live-recording excerpt of introductory music used during a Daft Punk set at 1995’s I Love Techno festival in Ghent—and concludes with the euphoric uplift of “Phoenix”; the B-side opens with the literal oceanic washes of “Fresh” before stretching its legs with the loopy, Gershon Kingsley-interpolating “Around the World” and the screeching fist-pump anthem “Rollin’ & Scratchin’.” The third side keeps things light with the flashy, instructional “Teachers” before getting truly twisted on “Rock’n Roll,” and the fourth side takes a few rubbery detours before landing on the full-bodied “Alive”—the thicker and meaner final form of “The New Wave”—and, quixotically, a slight and rewound “Da Funk” return, aptly titled “Funk Ad.”

Bangalter explained to POP that the title of Homework carries a few meanings: “You always do homework in the bedroom,” he stated, referencing the album’s homespun origins before elaborating on the didactic exercise that creating the album represented: “We see it as a training for our upcoming discs. We would as well have been able to call it Lesson or Learning .” That instructional nature is reflexive when it comes to listeners’ presumptive relationship with the album, as Homework practically represents a how-to for understanding and listening to house music.

Nearly every track opens with a single sonic element—more often than not, that steady 4/4 rhythm inextricably tied to house music—adding every successive element of the track patiently, like a played-in-reverse YouTube video showcasing someone taking apart a gadget to see what’s inside. Such a pedagogic approach can have its pitfalls; there’s always a risk of coming across as too rigid, and Daft Punk arguably fell victim to such dull, fussy didacticism later in their careers. But they sidestep such follies on Homework by way of the purely pleasurable music they carefully assembled, piece-by-piece, for whoever was listening.

Under the umbrella of house music, Homework incorporates a variety of sounds snatched from various musical subgenres—G-funk’s pleasing whine, the cut-up vocal-sample style of proto-UK garage made popular by frequent Daft Punk collaborator Todd Edwards , disco’s delicious synths and glittery sweep—to craft a true musical travelogue that also hinted at the widescreen sonic scope they’d take later in their careers. Above all, the album represents a love letter to black American pop music that’s reverberated through Daft Punk’s career to date—from Janet Jackson ’s sample of “Daftendirekt” on her 2008 Discipline track “So Much Betta” to Will.i.am’s failed attempt to remix “Around the World” the year previous, as well as the duo’s continued collaborations with artists ranging from Pharrell to Kanye West and the Weeknd .

The spirit of house music’s Midwestern originators is also literally and musically invoked throughout. Over the winding house-party groove of “Teachers,” Daft Punk pay homage to their formative influences, ranging from George Clinton and Dr. Dre to Black house and techno pioneers like Lil Louis, DJ Slugo, and Parris Mitchell—and in a meta twist, the song’s structure itself is a literal homage to Mitchell’s 1995 Dance Mania! single “Ghetto Shout Out,” an interpolation clearly telegraphed in the middle of Daft Punk’s astounding contribution to BBC’s Essential Mix series in 1997 .

Alongside Daft Punk’s preoccupations with American popular music, Homework also carries a very specific and politically pointed evocation of their native Paris in “Revolution 909,” the fourth and final single released from Homework that doubled as a critique of anti-rave measures taken by the French government after Jacques Chirac assumed power in 1995. “I don’t think it’s the music they’re after—it’s the parties,” Homem-Christo told Dance Music Authority , with Bangalter adding, “They pretend [the issue is] drugs, but I don’t think it’s the only thing. There’s drugs everywhere, but they probably wouldn’t have a problem if the same thing was going on at a rock concert, because that’s what they understand. They don’t understand this music which is really violent and repetitive, which is house; they consider it dumb and stupid.”

“Revolution 909” opens with ambient club noise, followed by the intrusion of police sirens and intimidating megaphone’d orders to “stop the music and go home.” The accompanying Roman Coppola-helmed music video was even more explicit in depicting the frequent clash between ravers and law enforcement that marked dance music’s rise to the mainstream in the early-to-mid-’90s; amidst a kitschy instructional video on making tomato sauce, a pair of cops attempt to disperse a rave, a young woman escaping one of their grasps after he becomes distracted by a tomato sauce stain on his own lapel.

It’s been rumored, but never quite confirmed, that Bangalter himself appears in the video for “Revolution 909”—a slice of speculation gesturing towards the fact that Daft Punk’s Homework era was the time in which the duo began embracing anonymity. The now-iconic robot helmets wouldn’t be conceived of until the Discovery era, and the magazine stories that came during Daft Punk’s pre- Homework days were typically accompanied by a fresh-faced photo of the pair; during Homework ’s promotional cycle, however, they donned a variety of masks to obscure their visages, including frog and pig-themed disguises .

In conversation with Simon Reynolds for The New York Times in 2013, the pair cited Brian De Palma’s glam-rock masterpiece Phantom of the Paradise as artistic inspiration for their decision to retain visual anonymity, and Daft Punk’s press-shy tendencies (since Homework , the interviews they’ve chosen to take part in have been few and far between) are firmly situated in a long tradition of letting the music do the talking in dance culture—from the sci-fi evasiveness of Drexciya and Aphex Twin ’s relative reclusiveness to the preferred reticence of Burial and his contemporaries in the UK bass scene.

But refusing to turn themselves into rock stars upon Homework ’s release also afforded Daft Punk a crucial element that has undoubtedly aided their perpetual ascent to the present-day: control. Retaining a sense of anonymity was but one of the conditions that the pair struck with Virgin upon signing to the label before Homework ’s release; while the music they released under the label (before signing to Columbia in 2013) was licensed exclusively to Virgin, they owned it through their own Daft Trax production and management company.

But Homework proved influential in other, more explicitly musical ways. G-house, an emergent dance subgenre in the mid-2010s dominated by acts like French duo Amine Edge & Dance, borrows liberally from Daft Punk’s own musical mash of hip-hop’s tough sounds and house music’s pounding appeal; the dirty bloghouse bruisers of Parisian collective Ed Banger—founded by Pedro Winter aka Busy P, who acted as the group’s manager until 2008—would literally not exist were it not for Homework , and that goes double for the party-hardy bloghouse micro-movement of the mid-late 2000s, which Ed Banger’s artists practically dominated. Parisian duo Justice , in particular, owe practically the entirety of their 2007 landmark † to the scraping tension of “Rollin’ & Scratchin’.”

It’s tempting, too, to tie a connective thread between Homework and the brash sounds that proliferated during the peak heyday of the financial descriptor-cum-music genre known as EDM; close your eyes while listening to “Alive”’s big-tent sweep and try not to imagine the tune destroying a festival crowd. But for all of Homework ’s aggressive charms, it’s also retained a homespun intimacy in comparison to how positively widescreen Daft Punk’s music became afterwards. “We focus on the illusion because giving away how it’s done instantly shuts down the sense of excitement and innocence,” Bangalter told Pitchfork in 2013, and the fact that two Beach Boys fans fiddling around in their bedroom could conceive of something so generously in-your-face and playful as Homework might still stand as Daft Punk’s greatest illusion yet.

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Daft Punk – Homework (25th Anniversary Edition Review)

Released as a surprise drop one year to the day since the duo announced their separation, the 25th Anniversary edition of Daft Punk’s debut album Homework , reintroduces audiences to the duo’s early work which kickstarted their critically acclaimed and award-winning discography.

While those more familiar with Daft Punk’s funk and disco based music from Random Access Memories as well as recent collaborations with The Weeknd with ‘Starboy’ and ‘I Feel It Coming’, Homework brings harder hitting electronic music which helped push French House and electronic music into the mainstream inspiring later artists such as Justice, Disclosure and Porter Robinson amongst many others.

The House classic, ‘Around The World’, is certainly the biggest single from this album and still remains on rotation for many 25 years later, however, relistening to Homework, gives opportunity to re-appreciate some of Daft Punk’s lesser known and underrated tracks. Tracks such as ‘Phoenix’ with its thumping kick and humming beat as well as ‘Indo Silver Club’ with its bouncing drum beat and melody, are both underrated upbeat and joyfully addictive house tracks.

Harder and more techno inspired tracks such as ‘Rollin’ & Scratchin’ and ‘Rock’n Roll’, illustrate the eclectic ability of Daft Punk to make both hard hitting techno and funk and disco inspired house. Those harder hitting tracks however may not be the tracks listeners have on repeat for casual listening, rather playing a much stronger role within Daft Punk’s highly recommended live albums, Alive 1997 and Alive 2007 .

To celebrate the 25th Anniversary of the original release of Homework, an additional fifteen remixes of songs from the original album have been added to this release. Some of those are fresh unheard remix such as Master at Works’ low tempo and relaxing ‘Around The World – Mellow Mix’, while others are releases of deeper cut remixes which accompanied the original single releases of tracks such as ‘Burnin- Ian Pooley Cut up Mix’ and ‘Revolution 909- Roger Sanchez & Junior Sanchez Remix’. While these remixes are a welcome addition for Daft Punk fans, with eight of the fifteen being remixes of ‘Around the World’ and four being remixes of ‘Burnin’, the 25th Anniversary feels like a missed opportunity. Including  early limited released material such as the Soma Records published singles, ‘Assault’, which was released in the lead up to Homework, and the unreleased 1994 single ‘Drive’ would give listeners music previously unavailable on streaming services, and make the album a must listen.

The release was accompanied by a twitch stream of 1997 Concert from the Mayan Theater in Los Angeles from Daft Punk’s Daftendirektour as well as a vinyl reissue of the live album, Alive 1997 . For those new to Daft Punk’s older work, this new 25th Anniversary  release of Homework certainly worth their time. For Daft Punk fans who are very familiar with Homework , their time would perhaps be better spent relistening to Alive 1997 or seeking out other recordings of Daft Punk’s live concerts.

Homework remains a strong release that should  be regarded as highly as Daft Punk’s later albums, Discovery, Human After All and Random Access Memories . The vinyl release of  this 25th Anniversary edition, coming on the 15th April will be a worthwhile collectors item for Daft Punk fans as it compiles alternative versions of classics that could previously only be available within the now hard to find single releases. The re-release is available for streaming now and is a classic album worth revisiting for any dance and electronic music fans.

Ben Stewart

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Daft Punk’s ‘Homework: Remixes’ Debuts on Top Dance/Electronic Albums Chart

Plus, moves for Alok, Sigala & Ellie Goulding and David Guetta & Bebe Rexha.

By Gordon Murray

Gordon Murray

Daft Punk debuts on Billboard ‘s Top Dance/Electronic Albums chart (dated Dec. 10) with Homework: Remixes at No. 17. The limited edition two-LP Record Store Day release earned 2,000 equivalent album units, with nearly all from physical sales, Nov. 25 (its release day) through Dec. 1, according to Luminate.

The set supports the 25th anniversary of the original Homework album, which spent 18 weeks on the Billboard 200 in 1997-98 (peaking at No. 150); it predated the June 2001 inception of the Top Dance/Electronic Albums chart.

Homework: Remixes contains original remixes of Homework hits “Around the World,” by Masters at Work and Todd Terry; “Burnin’,” by DJ Sneak and Ian Pooley; and “Revolution 909,” by Roger Sanchez and Junior Sanchez, among others.

Homework: Remixes is Daft Punk’s 11th charted title on Top Dance/Electronic Albums. The act’s six No. 1s are tied with The Chainsmokers’ total for the second-most of all acts – and the most among duos or groups. Only Lady Gaga and Louie DeVito have more (seven each).

Daft Punk also improves on the latest list with Random Access Memories (9-7, up 15%) and Discovery (23-16, up 3%). Random , the act’s longest-running title with 369 chart weeks and counting, reaped 21 weeks at No. 1 in 2013-14. Discovery , released just prior to the chart’s start in 2001, hit No. 4 that year and made it to No. 1 at last , following the announcement of the act’s dissolution, in 2021.

Daft Punk Returns to No. 1 on Top Dance/Electronic Albums Chart With 'Tron: Legacy'

‘All’ in Top 10

Shifting to the Dance/Mix Show Airplay chart, Alok , Sigala and Ellie Goulding lift into the top 10 with “All by Myself” (15-10). Alok’s third top 10, Sigala’s sixth and Goulding’s 10th, the song is scoring core-dance airplay on Music Choice’s Dance/EDM channel, iHeartRadio’s Evolution and Channel Q, among others. (The Dance/Mix Show Airplay chart measures radio airplay on a select group of full-time dance stations, along with plays during mix shows on around 70 top 40-formatted reporters.)

On the multi-metric Hot Dance/Electronic Songs chart, “Myself,” which samples Depeche Mode’s 1990 smash “Enjoy the Silence,” motors to a new peak (33-26). The track earned earning 629,000 U.S. streams, up 38%, in the wake of the Nov. 25 release of its club mix.

More ‘Good’ News

Speaking of Hot Dance/Electronic Songs, David Guetta and Bebe Rexha reign for an 11th week with “I’m Good (Blue).” The total ties Beyoncé’s “Break My Soul” for the second-most weeks at No. 1 in 2022; Elton John and Dua Lipa’s “Cold Heart (Pnau Remix)” spent 22 of its total 36 frames at No. 1 this year, after first reigning in October 2021.

“Good,” which earns top Airplay Gainer honors with 62.9 million all-format radio airplay audience impressions (up 8%), also matches Guetta and Rexha’s longest commands on the chart, as his “Hey Mama,” featuring Rexha, Nicki Minaj and Afrojack, dominated for 11 weeks in 2015.

“Good” leads the Dance/Electronic Streaming Songs and D ance/Electronic Digital Song Sales charts for a 12th week each, with 10.1 million streams and sold 5,000 downloads sold in the tracking week.

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Daft Punk celebrate the 25th anniversary of Homework with previously unheard remixes, vinyl reissues and a one-off stream

The announcement came exactly one year after the duo’s official disbandment.

Image: daftbootlegs.weebly.com

Get MusicTech breaking news as it happens by following us on Telegram: https://t.me/MusicTechOfficial

It’s been 25 years since the release of Daft Punk’s Homework , one of the most influential albums in the history of dance music. After officially hanging up their helmets with a dramatic video announcement on February 22, 2021, Daft Punk have released a deluxe anniversary edition of Homework  complete with 15 remixes from the original album; nine of which are previously unreleased on streaming platforms.

• READ MORE: Daft Punk’s gear list for their 1997 album Homework has surfaced online

The release will contain 1997 remixes of core tracks such as Around The World , Burnin ’ and Revolution 909  by the likes of Masters At Work, DJ Sneak, Todd Terry, Motorbass, Slam, Ian Pooley, I:Cube, Roger Sanchez & Junior Sanchez and more.

Recently the duo hosted a one-time Twitch stream of an early, unhelmeted show at the Mayan Theatre on December 17th 1997; part of Daft Punk’s first tour, which lasted the span of that year and saw the recording of A live ’97 . The anniversary of the album will also see vinyl reissues of Homework and Alive ’97  released on April 15th.

The announcement sparked widespread excitement among musicians and fans, with French artist Madeon simply tweeting “I AM SO HYPED YOU GUYS I LOVE DAFT PUNK”.

Swedish DJ and Producer Alesso doubtless echoed the thoughts of many fans tantalised by the video from 1997, saying , “Really wish we would’ve gotten a farewell tour from Daft Punk. Not saying they have to. But it would’ve been great!”

Check out a clip of the duo dropping ‘Around The World’ in 1997 below, courtesy of Brownies & Lemonade:

daft punk dropping "around the world" in los angeles 1997, just legendary 🤌 pic.twitter.com/UBTQLB6jfi — Brownies & Lemonade🍫🍋 (@TeamBandL) February 22, 2022

The full tracklist for the album is as follows:

Disc 1: Homework – Original Album 1. Daftendirekt 2. WDPK 83.7 FM 3. Revolution 909 4. Da Funk 5. Phoenix 6. Fresh 7. Around The World 8. Rollin’ & Scratchin ‘ 9. Teachers 10. High Fidelity 11. Rock’n Roll 12. Oh Yeah 13. Burnin ‘ 14. Indo Silver Club 15. Alive 16. Funk Ad

Disc 2: Homework Remixes 1. Around The World (I:Cube remix) 2. Revolution 909 (Roger Sanchez & Junior Sanchez Remix) 3. Around the World (Tee’s Frozen Sun Mix) 4. Around the World (Mellow Mix) 5. Burnin ‘ (DJ Sneak Main Mix) 6. Around the World (Kenlou Mix) 7. Burnin ’ (Ian Pooley cut up mix) 8. Around The World (Motorbass Vice Mix) 9. Around The World (M.A.W. Remix) 10. Burnin ‘ (Slam mix) 11. Around The World (Original Lead Only) 12. Burnin ‘ (DJ Sneak Mongowarrier Mix) 13. Around The World (Raw Dub) 14. Teachers (extended mix) 15. Revolution 909 (Revolution A Capella)

For more and pre-order the vinyl reissue of ‘Homework’ or ‘Alive ’97’ head to daftpunk.com

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Homework (Remixes)

• View history

Homework (Remixes) is a remix album by Daft Punk , containing material from their first studio album Homework . It was released on February 22, 2022, in digital market stores and later on November 25, 2022, on CD and 12" formats.

It's their first release after their separation in 2021. It follows as its Tron: Legacy Reconfigured on their series of remix albums, and its the third remix album based on one of their studio albums, after Human After All: Remixes in 2006.

Tracklist [ ]

References [ ].

• ↑ Homework: Remixes Digital Edition on Discogs
• 1 Veridis Quo
• 2 Interstella 5555: The 5tory of the 5ecret 5tar 5ystem

Homework (Remixes)

January 20, 1997 15 Songs, 1 hour, 48 minutes Distributed exclusively by Warner Music France / ADA France, ℗ 2022 Daft Life Ltd.

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To continue the celebration of the 25th Anniversary of their critically acclaimed HOMEWORK album, HOMEWORK REMIXES is a collection of 1997/98 remixes on CD. The release includes remixes from: I:CUBE, ROGER SANCHEZ & JUNIOR SANCHEZ, MOTORBASS, DJ SNEAK, MASTERS AT WORK, TODD TERRY, SLAM, IAN POOLEY.

Product details

• Language ‏ : ‎ English
• Product Dimensions ‏ : ‎ 0.39 x 4.92 x 5.59 inches; 3.14 ounces
• Manufacturer ‏ : ‎ ADA
• Original Release Date ‏ : ‎ 2022
• Date First Available ‏ : ‎ September 27, 2022
• Label ‏ : ‎ ADA
• ASIN ‏ : ‎ B0BD6GH8L6
• Country of Origin ‏ : ‎ USA
• Number of discs ‏ : ‎ 1
• #380 in House (CDs & Vinyl)

Customer reviews

Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.

To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.

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