Electronic music right now is in its comfort zone, and it's not moving one inch.
If everybody knows all the tricks, it's no more magic.
You never know whether something will be good.
It’s very strange how electronic music formatted itself and forgot that its roots are about the surprise, freedom, and the acceptance of every race, gender, and style of music into this big party.
It's nice to be able to forget.
We like the idea that the things we do seem to come out of nowhere.
Technology has made music accessible in a philosophically interesting way, which is great. But on the other hand, when everybody has the ability to make magic, it's like there's no more magic - if the audience can just do it themselves, why are they going to bother?
We come from a generation that wanted to make electronic music accepted, at a time [when] it was not.
It’s always this thing where we’re constantly waiting for something that will come in electronic music that says, ‘Daft Punk sucks!’ That’s actually much more interesting and exciting than someone who is paying homage.
The place of electronic music, culturally and socially, is today completely different - it is now everywhere, and it has been totally accepted. Consequently, there is now a younger generation that is more focused on making great electronic music, good parties, and having fun, where there is not any more so much need for cultural and ideological statements in electronic music itself.
The show, like everything we have done and still do, is just one more experiment.
There is indeed a level of improvisation where we can distort and shuffle the music patterns, samples, and loops in each phase of the show within fixed cue points, but at the same time there is a constant result that we are trying to achieve each night while performing and operating our system - quite similar in spirit to a broadway show for example: If you go see a musical two nights in a row, the performances are different yet similar.
We have always been thinking about different ways to perform electronic music, i.e. music made with machines.
Being nationalistic in France has nothing in common with being patriotic in America.
We're genuinely happy if some musicians of this younger generation are influenced by our music, as we were ourselves influenced 10 years ago by older musicians.
I am definitely pro-European, even pro-global, and house music and electronic music has developed a network all over the world, between record shops in Berlin, Tokyo, London, Chicago, Minneapolis and L.A. That's really what I feel part of, rather than being French.
We feel like we're building something aesthetically, so we like the idea of the evolution. So far, each piece of music or everything has been to expand it, instead of backtracking or trying to destroy what we have done.
The thousands of clips on internet are better to us than any DVD that could have been released.
Hip-hop has always been exciting and interesting to us.
America is a new country, and maybe patriotism helps Americans create unity, since it is a melting pot. But nationalism in Europe has a strong history, as you may know.
Human After All was the music we wanted to make at the time we did it. We have always strongly felt there was a logical connection between our three albums, and it 's great to see that people seem to realize that when they listen now to the live show.
