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Homework is the debut studio album by French electronic music duo Daft Punk , released on 17 January 1997 with Virgin Records . Homework' s success brought worldwide attention to French house music. According to The Village Voice , the album revived house music and departed from the Eurodance formula. The duo produced the tracks without plans to release an album. After working on projects that were intended to be separate singles over five months, they considered the material good enough for an album.

Commercially successful, Homework appeared in 14 national charts, peaking at number 150 on the United States Billboard 200 and at number 37 on the Australian Albums Chart. By February 2001, the album had sold more than two million copies worldwide and received several gold and platinum certifications. Overall Homework received positive critical response. The album features singles that had a significant impact in the French house and global dance music scenes. These include the US Billboard Hot Dance/Club Play number-one singles " Da Funk " and " Around the World ", the latter of which reached number 61 on the Billboard Hot 100.

• 1 Recording history
• 2 Structure
• 3 Track listing
• 4 References

Recording history [ ]

In 1993, Thomas Bangalter and Guy-Manuel de Homem-Christo presented a demo to Stuart Macmillan of Slam at a rave in EuroDisney. The contents of the cassette eventually saw release on the single " The New Wave ", which was released on April 11, 1994 on Slam's Soma Quality Recordings label. The record also contained the final mix of the track "The New Wave" entitled "Alive".

" Da Funk " and " Rollin' & Scratchin' " were released as a single under the Soma label in 1995. The tracks were then utilized by The Chemical Brothers in DJ sets at The Heavenly Social in London. During the same year, Tom Rowlands and Ed Simons requested that the duo remix their single "Life Is Sweet" and open for The Chemical Brothers' tour in the United Kingdom. The ensuing popularity of Daft Punk's singles led to their signing with Virgin Records in September 1996. Their departure from Soma was noted by Richard Brown of the Glasgow-based label. "We were obviously sad to lose them to Virgin but they had the chance to go big, which they wanted, and it's not very often that a band has that chance after two singles. We're happy for them."

Although Virgin held exclusive distribution rights over Daft Punk’s material, the duo remain the owners of their master recordings through the Daft Trax label. Bangalter expressed that "To be free, we had to be in control. To be in control, we had to finance what we were doing ourselves. The main idea was to be free." [7] Daft Punk discussed their method with Spike Jonze , director of the "Da Funk" music video. He noted that "They were doing everything based on how they wanted to do it. As opposed to, 'oh we got signed to this record company, we gotta use their plan.' They wanted to make sure they never had to do anything that would make them feel bummed on making music." In regards to the duo's creative control and freedom, Bangalter said:

Daft Punk worked to record other tracks, including " Revolution 909 " and " Around the World ". The album was mixed and recorded in their own studio, Daft House in Paris , France. It was mastered by Nilesh Patel at the London studio The Exchange.

Virgin re-released "Da Funk" with the B-side " Musique " in 1996, before the debut of Homework . Bangalter later stated that the B-side "was never intended to be on the album, and in fact, 'Da Funk' as a single has sold more units than Homework , so more people own it anyways than they would if it had been on the album. It is basically used to make the single a double-feature."

Structure [ ]

Daft Punk produced the tracks included in Homework without a plan to release an album. Bangalter stated, "It was supposed to be just a load of singles. But we did so many tracks over a period of five months that we realized that we had a good album." [1] The duo set the order of the tracks to cover the four sides of a two-disc vinyl LP. [2] De Homem-Christo remarked, "There was no intended theme because all the tracks were recorded before we arranged the sequence of the album. The idea was to make the songs better by arranging them the way we did; to make it more even as an album." [2] The name Homework , Bangalter explained, relates to "the fact that we made the record at home, very cheaply, very quickly, and spontaneously, trying to do cool stuff." [3]

"Daftendirekt" is an excerpt of a live performance recorded at the first I Love Techno party in Ghent, Belgium. [4] It served as the introduction to Daft Punk's live shows and was used to begin the album. [2] Janet Jackson sampled "Daftendirekt" on her song "So Much Betta", which was included in her tenth studio album, Discipline , in 2008. [5] Homework' s following track, "WDPK 83.7 FM", is a tribute to FM radio in the US. [6] The next song, " Revolution 909 " is a reflection on the French government's stance on dance music. [2] [7]

"Revolution 909" is followed by " Da Funk ", which carries elements of funk and acid music. [8] According to Andrew Asch of the Boca Raton News , the song's composition "relies on a bouncy funk guitar to communicate its message of dumb fun." [9] Bangalter expressed that "Da Funk"'s theme involved the introduction of a simple, unusual element that becomes acceptable and moving over time. [10] Sal Cinquemani of Slant Magazine complimented the song as "unrelenting", [11] and Bob Gajarsky of Westnet called it "a beautiful meeting of Chic (circa "Good Times", sans vocals) and the 90s form of electronica." [12] The song appeared on the soundtrack for the 1997 film The Saint and was placed at number 18 on Pitchfork Media's "Top 200 Tracks of the 1990s" list. [13] "Phoenix" combines elements of gospel music and house music. [2] The duo considered "Fresh" to be breezy and light with a comical structure. [14] Ian Mathers of Stylus Magazine criticized the song, stating that it "doesn’t feel like the beach just because of the lapping waves heard in the background." [15]

The single " Around the World " carries influences of Gershon Kingsley 's hit "Popcorn". [8] Its music video was directed by the Academy Award-winning French filmmaker Michel Gondry, who compared the track's bassline to that of "Good Times" by Chic. [16] Chris Power of BBC Music named it "one of the decade’s catchiest singles". He stated that it was "a perfect example of Daft Punk’s sound at its most accessible: a post-disco boogie bassline, a minimalist sprinkling of synthetic keyboard melody and a single, naggingly insistent hook." [17] Ian Mathers of Stylus Magazine commented that "there is no way you’d want to have a Homework without 'Around The World'." [15] The track "Teachers" is a tribute to several of Daft Punk's house music influences, including future collaborators Romanthony , DJ Sneak and Todd Edwards . [18] The song "Oh Yeah" features DJ Deelat and DJ Crabbe. "Indo Silver Club" features a sample of "Hot Shot" by Karen Young . [4] Prior to its inclusion on Homework , "Indo Silver Club" was released as a single on the Soma Quality Recordings label in two parts. [19] The single lacked an artist credit in the packaging [19] and was thought to have been created by the nonexistent producers Indo Silver Club. [20] The final track, "Funk Ad", is a reversed clip of "Da Funk". [2]

Track listing

References [ ].

• ↑ James (2003), p. 269.
• ↑ 2.0 2.1 2.2 2.3 2.4 2.5 Warner, Jennifer. "Interview with Daft Punk" . p. 3. DMA . About.com . Retrieved on 30 March 2007.
• ↑ Nickson, Chris (June 1997) Daft Punk: Parlez-vous da funk? . CMJ New Music Monthly (46) (CMJ Network) p. 10. ISSN 1074-6978 . Retrieved 31 January 2013.
• ↑ 4.0 4.1 Homework ( liner notes ). Daft Punk . Virgin Records , a division of EMI Group . 42609. 1997.
• ↑ Discipline (Booklet). Janet Jackson . Island Records , a division of [[wikipedia:The Island Def Jam Music Group]|The Island Def Jam Music Group]]. 2008.
• ↑ Di Perna, Alan (April 2001). "We Are The Robots", Pulse! . pp. 65–69.
• ↑ Warner, Jennifer. "Interview with Daft Punk" . p. 2. DMA . About.com . Retrieved on 10 February 2012.
• ↑ 8.0 8.1 Collin, Matthew (August 1997). "Do You Think You Can Hide From Stardom?" . Mixmag . Retrieved on 6 March 2007.
• ↑ Asch, Andrew (18 December 1997). "Daft Punk smashes charts with simplicity" . Boca Raton News . Retrieved on 1 May 2012.
• ↑ Daft Punk audio commentary for "Da Funk" music video , The Work of Director Spike Jonze (2003).
• ↑ Cinquemani, Sal (2 November 2002). "Daft Punk – Homework" . Slant Magazine . Retrieved on 1 May 2012.
• ↑ Gajarsky, Bob (28 April 1997). "Daft Punk, Homework" . Westnet. Retrieved on 1 May 2012.
• ↑ Ryan Dombal (3 September 2009). "Staff Lists: The Top 200 Tracks of the 1990s: 20-01" . Pitchfork Media . Retrieved on 10 February 2012.
• ↑ D.A.F.T.: A Story About Dogs, Androids, Firemen and Tomatoes . Virgin Records. 1999.
• ↑ 15.0 15.1 Mathers, Ian (9 May 2005). "Daft Punk: Homework – Playing God" . Stylus Magazine . Retrieved on 1 May 2012.
• ↑ Gondry, Michel (2003). The Work of Director Michel Gondry companion book. Palm Pictures . Retrieved on 4 May 2012.
• ↑ Power, Chris (5 January 2010). "Review of Daft Punk – Homework" . BBC Music . British Broadcasting Corporation . Retrieved on 1 May 2012.
• ↑ Gill, Chris (1 May 2001). ROBOPOP . Remix Magazine . Archived from the original on 11 February 2012. Retrieved 18 February 2012.
• ↑ 19.0 19.1 Indo Silver Club (liner notes). Daft Punk. Soma Quality Recordings. SOMA 035.
• ↑ Silcott, Mireille (3 April 1997). "Personality punks" . Montreal Mirror . Archived from the original on 6 June 2011. Retrieved on 3 August 2011.
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• 2 Interstella 5555: The 5tory of the 5ecret 5tar 5ystem

• Summer of Joy

All 16 Tracks On Daft Punk's 'Homework' Ranked

The French duo’s timeless debut came out 20 years ago today.

Daft Punk’s seminal debut album,  Homework,  was originally released on January 20, 1997. That’s *gasp* 20 years ago today. Hard to believe, right? We didn’t know it then, but the robotic duo from France—who still hadn’t yet donned their helmets—would later go on to become international pop icons. So considering the date, we figured it was very appropriate to return to, re-evaluate and rank the songs on this absolute classic of dance music. So how about it? How does your favorite cut stack up?

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2. Around The World

3. Burnin’

5. Daftendirekt

8. High fidelity

9. Indo Silver Club

10. Oh Yeah

12. Revolution 909

13. Rock’n Roll

14. Rollin’ & Scratchin’

15. Teachers

16. Wdpk 83.7 FM

Listen more:  Hear Daft Punk’s rare Rex Club recordings from 1997

A Conversation With Filmmaker Vincent Haycock

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• Consequence

The Past, Present, and Future of Daft Punk’s Homework

A track-by-track breakdown that will take you around the world

Editor’s Note: With breaking news that Daft Punk are hanging up their helmets, we’re revisiting several of our relevant features. That includes Lior Phillips’ ambitious look at Daft Punk’s debut 1997 album, Homework, in which she examines, song by song, both the group’s influences and how they impacted the music that followed. This crash course in Daft Punk’s Homework was originally published as an anniversary piece in January 2017.

Homework will be playing as my soul glides into the ether.

These days, Daft Punk announce their superhuman abilities almost immediately — some might argue they’re more ubiquitous for their robotic guise over their actual music — but 20 years ago, when they released their sublime debut album, Homework , they were merely two French tricksters named Thomas Bangalter and Guy-Manuel de Homem-Christo. At the time, they had begun wearing masks to produce an ego-less, universal presence for dance music — a language that could exist without signifiers, if you will — though decidedly not the chromed helmets of today. Rather than mechanic flourishes on the album art, they opted for simple satin.

Though the packaging has ramped up to surreal new heights of whimsy and wonder, it’s now remarkable to see just how much of Daft Punk’s sound has crystallized over the past two decades. Of course, it helps that they chose some valuable inspirational signposts in house, techno, G-funk, and hip-hop. Even so, the two producers were only 22 years old, an incredibly early age given the clarity and grace they had exuded in this complete and timeless masterpiece. In fact, it’s become more or less an instruction manual for current would-be producers, namely how it runs through genres as though they were hyperactive cartoon characters.

For that reason, the album’s connections to the past and influence on the future can be viewed much more clearly. Granted, the genres they twirled into Homework were previously indebted to sampling and remixing, but that’s only the tip of the iceberg to this album. What’s far more intriguing is the matter bubbling underneath, which is why we’ve gone ahead and dismantled each of the album’s 16 tracks piece by piece, searching for particular influences that they might have had and uncovering which artists might have been influenced. It’s an around-the-world study of Daft Punk, and one that requires zero airfare and zero SkyMiles. Dancing shoes are optional.

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The past, present, and future of daft punk's homework.

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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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Homework: How Daft Punk Schooled Us In The Future Of Dance Music

With their debut album, ‘Homework’, Daft Punk cemented their place in history, even while shaping what that history would become.

There are those who ride the waves of a scene, and there are those who create a new scene in the first place. Daft Punk have always been the latter, particularly in the formative years surrounding their debut album, Homework .

Listen to Homework here

Scrappy, raw and experimental.

Few musical acts have changed so much between albums as Daft Punk did in the four years between the release of Homework , on 20 January 1997, and its follow-up, Discovery . Reinvention is often the key to longevity in music, but it usually comes after years of exhausting the same tried and tested formula. For Daft Punk, however, their first two albums feel like the works of entirely different artists: meticulously detailed and polished, Discovery was stuffed with instant classics that aimed for the big leagues. Homework , however, represents everything that’s exciting about the best debut albums: scrappy, raw and experimental, it perfectly captured the spirit of Daft Punk’s live sets in their early years, with tracks mixing into each other perfectly, building and maintaining energy as if tooled for a club appearance.

Video footage from a live show in Wisconsin, in 1996, demonstrates this perfectly. Claiming to be the earliest evidence of Daft Punk on stage, there isn’t a mirror ball or robot mask in sight. Aesthetically, it could be any boiler-room gig – a small audience going wild as Thomas Bangalter and Guy-Manuel De Homem-Christo rip through their set with absolute conviction. Sonically, it’s a wild ride: the beat is the only constant; everything else can be thrown in and pulled away again in an instant. Tracks like Homework ’s Rock’n Roll, with its pulsating scratch loop, brought the excitement of these shows to listeners’ stereos.

Hints of the Daft Punk to come

However, Homework isn’t just a recorded version of an early gig. Across its 75 minutes, there are plenty of hints of the Daft Punk to come, particularly with the standout hits Alive, Da Funk and Around The World. The ambition alone of these early singles was enough to change the dance music scene at the time, pushing house back into the mainstream.

Recorded on the cheap at home (a process that gave the album its title), Homework wasn’t truly intended to be an album: the singles are placed between the more experimental tracks in an attempt to form something that felt more traditionally cohesive. Even so, it’s clear there were two very difference sides to Daft Punk, even in these early stages.

Few artists could produce their debut album at home while ensuring it sounded perfect wherever it was played, but, channelling huge amounts of energy and live experience for the recording, Bangalter and De Homem-Christo already knew what would work and what wouldn’t on their limited set-up. It’s this adaptability that made Daft Punk’s journey from club act to festival headliners a smooth one. But while it’s one thing to make an album at home, it’s an entirely other thing to have it cement your place in musical history.

Here are some of the standout tracks that make Homework a lesson in the evolution of dance music…

Homework : the tracks you need to hear

Revolution 909.

There’s a drum sound so industrial it could have been recorded in a factory, landing with such a satisfying clang that it’s hard to focus on anything else. Revolution 909 sits perfectly as one of Homework ’s opening tracks, setting the energy for the rest of the album and leading flawlessly into Da Funk…

… Which is not only a highlight on Homework , it’s a highlight of Daft Punk’s entire career. When a band discovers a truly great riff, they strip down everything else and squeeze every last drop out of it. Da Funk is one of those: instant, direct, and memorable – everything you want from a house track. Also, shout-out to the music video by the masterful Spike Jonze, in which a dog with its leg in a cast gets treated with complete indifference by a load of strangers.

Nothing sums up the early Daft Punk sound quite like Phoenix. Though subtler than some of the Homework ’s later tracks, it’s fully earned its place amongst the group’s bigger hitters.

Around The World

What more is there to say that hasn’t already been said? Around The World remains a juggernaut in dance music. Every part has been tightened to perfection, making it the perfect instrumental for the duo to introduce their trademark robot voice on.

With a twitching bassline that props up an ever-growing beat, Burnin’ is surrounded by all kinds of pops, scratches, slides and squeaks. If Homework builds in intensity as a live set would, this is the peak of that experience.

One of the original singles dropped ahead of Homework’s release, Alive still sounds as huge as ever. There’s a reason they name their tours after this song…

Check out the best Daft Punk song of all time to discover how they got harder, better, faster, stronger.

• Album Stories

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Homework (Daft Punk album). 1997 Vinyl rip

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Homework is the debut studio album by the French electronic music duo Daft Punk, released on 20 January 1997 by Virgin Records and Soma Quality Recordings. The duo produced the tracks without plans to release an album. After working on projects that were intended to be separate singles over five months, they considered the material good enough for an album.

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Homework (25th Anniversary Edition)

Few records combine sonic innovation with veneration for what came before as succinctly as Daft Punk’s 1997 debut, Homework. The title itself implies this duality: It’s a reference to both the bedroom studio where musicians Thomas Bangalter and Guy-Manuel de Homem-Christo recorded their early house and techno productions, and a nod to the older artists the duo studied in preparation for their dance music breakthrough. Many of those musical ancestors are name-checked on the Homework track “Teachers”, on which Bangalter and Homem-Christo salute the (mostly) electronic music producers and DJs who inspired their work. That includes plenty of semi-obscure Chicago house music heroes and Detroit and UK techno champions, many of whom predated Daft Punk by a decade—but who were still active in the late-1990s rave scene. By tagging their peers, the members of Daft Punk were expressing solidarity with the many BIPOC artists whom they’d obsessed over for years. It was a declaration of belonging that could have come off as appropriation, had Homework not so fully elevated the genre. Bangalter and Homem-Christo might wear their influences on their sleeve, but their music transcends mere tribute; it’s some of the most unforgettable hook-laden house and techno ever put to wax. When it comes to the dance floor, if a record’s hot, that record is hot. And DJs across the globe pumped Homework’s 16 tracks, which included everything from playful filtered disco (“Revolution 909”) to throttling acid techno (“Rollin’ & Scratchin’”). Meanwhile, radio jocks and MTV programmers on the lookout for format-friendly versions of popular rave sounds swooned over Homework cuts like “Da Funk” and “Around the World”, which became breakout hits, thanks to inventive videos directed, respectively, by Spike Jonez and Michel Gondry. That near-impossible confluence of talent and timing allowed Homework to achieve its position atop every list of 1990s electronic music. As time went on, the members of Daft Punk would prove themselves worthy of every accolade Homework received as they continued to evolve from students to teachers to masters—elevating the state of electronic music every step of the way.

20 January 1997 31 Songs, 3 hours, 2 minutes Distributed exclusively by Warner Music France / ADA France, ℗ 1997, 2022 Daft Life Ltd.

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Beyoncé worked with a variety of artists to make 'Cowboy Carter.' Here are 12 collaborators you may have missed.

• Beyoncé released her eighth solo album, "Cowboy Carter," last Friday.
• The credits reveal she collaborated with long-trusted producers and indie songwriters alike.
• Contributors include Jon Batiste, Ryan Beatty, Raye, Nile Rodgers,  Pharrell Williams, and more.

Beyoncé may be the Rodeo Queen on the cover of "Cowboy Carter," but she lassoed a formidable crew to execute her genre-blending, countrified vision .

The tracklist of her latest album boasts an array of features: Black country artists such as Tanner Adell, Brittney Spencer, Tiera Kennedy, Reyna Roberts, Shaboozey, and Willie Jones lend their vocals to "Blackbiird," "Spaghettii," "Just for Fun," and more; Miley Cyrus and Post Malone duet with Beyoncé on "II Most Wanted" and "Levii's Jeans," respectively; Nashville legends Willie Nelson, Dolly Parton, and Linda Martell take turns narrating the experience like radio DJs .

The album credits provided to streaming services on Sunday offer even more insight into Beyoncé's creative corps.

Naturally, familiar names appear: The-Dream , who first teamed up with Beyoncé in 2008 for "Single Ladies," coproduced 10 of the album's 27 tracks; her husband and frequent music collaborator Jay-Z cowrote six.

However, a deeper dive reveals more interesting and unexpected collaborators — even producers and songwriters who are brand new to Beyoncé's orbit.

We rounded up 12 artists who worked on "Cowboy Carter" (according to credits listed on Spotify) and where you might know them from.

Jon Batiste cowrote and coproduced "Ameriican Requiem."

If you're a late-night TV fan, you'll probably recognize Batiste as the former bandleader on "The Late Show With Stephen Colbert." If you're a Lana Del Rey fan, you'll remember that he was featured on her 2023 single " Candy Necklace ."

But on a broader scale, Batiste is a major industry player and a recently crowned award-show darling. He won album of the year at the 2022 Grammys for "We Are," an eclectic love letter to Black music and American culture. (Sound familiar?) His follow-up, "World Music Radio," was up for the top award again this year.

Batiste has also earned two Oscar nominations, winning best original score in 2020 for Pixar's "Soul."

The multi-hyphenate singer, songwriter, and producer recently praised Beyoncé on social media for helping to "dismantle the genre machine."

"When I catch inspiration, the words and chords pour out of me," he wrote of "Ameriican Requiem." "What an honor to then see how brilliantly Beyoncé made them her own and THEN further enhanced the lyrical statement, synthesizing it into the larger body of work."

Camaron Ochs, known mononymously as Cam, cowrote "Ameriican Requiem," "Protector," "Daughter," "Tyrant," and "Amen."

Cam is a country singer with a long-standing connection to Cyrus, with whom she cowrote the "Bangerz" deep cut "Maybe You're Right."

As a solo artist, Cam's breakout hit came in 2015 with " Burning House ," the second single from her sophomore album "Untamed." It reached No. 29 on the Billboard Hot 100 and went multi-platinum.

Another wave of acclaim came in 2017 thanks to " Diane ," the lead single from Cam's third album. The impassioned power ballad is written from the inverted perspective of Parton's "Jolene," which Beyoncé covered for "Cowboy Carter." (Parton gave "Diane" her stamp of approval .)

Dave Hamelin worked on "16 Carriages," "Smoke Hour II," "Just for Fun," "II Hands II Heaven," "Tyrant," and "Amen."

Beyoncé and Hamelin are the only producers credited for "Smoke Hour II" and "Just for Fun."

Hamelin initially rose to fame in the aughts as the drummer for The Stills, a Canadian indie-rock band, best known for their 2003 single "Still In Love Song" and Juno Award-winning album "Oceans Will Rise."

After they disbanded in 2011, Hamelin formed the new band Eight and a Half but found steadier work as a producer. He has recently worked with Zara Larsson ("Nothing") and 070 Shake, most notably on " Scar ," a standout track from the Beyoncé-curated soundtrack "The Lion King: The Gift."

Ryan Beatty has writing credits on "Protector," "Bodyguard," "Just for Fun," and "II Hands II Heaven."

After initially doing the teen idol rounds on Radio Disney, Beatty pivoted to behind-the-scenes work for alt-hip-hop artists.

He gained recognition as a songwriter and backing vocalist for Brockhampton ("Queer," "Bleach," "Sugar"), the group's front man Kevin Abstract ("Baby Boy," "Crumble," "Sierra Nights"), and Tyler the Creator ("I Think").

Beatty released his debut solo album "Boy In Jeans" in 2018 and his sophomore album "Dreaming of David" in 2020.

However, his third album, "Calico," marked an upswing in critical acclaim. The second track, "Bruises Off the Peach," was named one of the best songs of 2023 by Business Insider.

In a post on Instagram , Beatty described working on "Cowboy Carter'" as "one of the brightest highlights of my life on earth."

Shawntoni Ajanae Nichols, aka Mamii, worked on "My Rose," "Bodyguard," and "Flamenco."

Beyoncé and Nichols are the only songwriters credited for "My Rose" and "Flamenco." The duo also coproduced the two songs, for which Nichols is credited under her stage name, Mamii.

"This is the first set of songs out that I've been able to write and produce for someone other than myself," Mamii wrote on Instagram . "It's really a dream come true."

In addition to her work behind the scenes, Mamii is a solo artist blending R&B and funk-rock with songs like " F*ck You Up " and " Creepiin ." (She tends to prefer double-I stylization, much like Beyoncé during her "Act II" era.)

Last year, Mamii opened for Q and Baby Rose on their Through The Soul Tour. More recently, she cowrote the single " Talking " from the new album by ¥$, aka Ye and Ty Dolla $ign.

Elizabeth Lowell Boland, known mononymously as Lowell, has writing credits on "Texas Hold 'Em" and "Bodyguard."

In addition to a decadelong career writing for pop stars like Tate McRae (" R U OK "), Madison Beer ("Selfish"), and Charli XCX ("Yuck"), Lowell has released six projects (including albums and EPs) of her own.

Several of Lowell's latest releases recall themes and symbols evoked in "Cowboy Carter," including her singles " Black Boots and Leather Rebellion " (2021) and " Hamptons City Cowboy " (2022).

Ryan Tedder coproduced "II Most Wanted."

Ryan Tedder is the renowned front man for OneRepublic, best known for hits like "Apologize" and the diamond-certified "Counting Stars."

Tedder is also a prolific songwriter and producer. His vast catalog of hits includes "Exes" and "Greedy" by McRae, "That's What I Want" by Lil Nas X, "Sucker" by the Jonas Brothers, "Welcome to New York" by Taylor Swift — and, of course, "Halo" by Beyoncé.

Nile Rodgers is credited as a songwriter for "Levii's Jeans."

Rodgers is a living legend — an inductee of the Rock and Roll Hall of Fame and Songwriters Hall of Fame, and a recipient of the Grammys Lifetime Achievement Award.

In addition to his musical legacy with the Big Apple Band, Rodgers has written iconic tracks across several decades, from "I'm Coming Out" by Diana Ross (1980) to "Get Lucky" by Daft Punk (2013) and "Cuff It" by Beyoncé (2022).

Arlo Parks has a songwriting credit on "Ya Ya."

Parks is listed under her birth name, Anaïs Marinho, in the writing credits for "Ya Ya."

The English singer-songwriter earned near-unanimous praise for her 2021 debut album "Collapsed In Sunbeams," which spawned indie hits like "Eugene" and "Black Dog."

Parks released her sophomore album "My Soft Machine" last year. She has also collaborated with close friends in the industry, including Phoebe Bridgers (" Pegasus") and Clairo ("Green Eyes").

Rachel Keen, aka Raye, cowrote "Riiverdance."

Raye began releasing music back in 2014. Her singles discography includes cult-favorite club hits like " Bed " and " You Don't Know Me ."

Following her split from Polydor Records, Raye's career has taken off critically and commercially. Her first independent release, "My 21st Century Blues," was named the fourth-best album of 2023 by BI and won album of the year at the 2024 Brit Awards.

That same night, she also won songwriter of the year, song of the year, best R&B act, best new artist, and artist of the year — setting an all-time record for the ceremony.

Pharrell Williams cowrote and coproduced "Sweet Honey Buckiin."

This isn't Pharrell's first rodeo with Beyoncé; he coproduced "Blow" and "Superpower" from her 2013 self-titled album, as well as "Apeshit" and "Nice" from her joint LP with Jay-Z, 2018's "The Carters."

If you're somehow unfamiliar with Pharrell's impressive collection of production credits (Ariana Grande's "The Light Is Coming," Frank Ocean's "Pink + White," Kendrick Lamar's "Alright," Cyrus' "#GetItRight," and Justin Timberlake's "Señorita," just to name a few), then you certainly know his two diamond-certified smash hits : "Happy" and "Blurred Lines."

Danielle Balbuena, aka 070 Shake, is credited as a writer and producer on "Amen."

070 Shake is also credited with background vocals in "Amen," the album's final track.

The rapper-slash-singer's career took off in 2018 when she was cosigned by Ye (then known as Kanye West) and the rest of the G.O.O.D. Music crew; she provided guest vocals to " Santeria ," track five on Pusha T's lauded album "Daytona," as well as "Ghost Town" and "Violent Crimes" from "Ye."

More recently, she opened for Kid Cudi on his To the Moon World Tour and garnered praise for her feature on Raye's single " Escapism ," which peaked at No. 22 on the Billboard Hot 100.

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