Every Daft Punk Song, Ranked—Yeah, All of Them

Daft Punk ‘s ambitions have never in truth changed—only their methods. From their early experiments in bone-rattling techno to their late forays into maximalist pop, all of the couple ‘s melodious phases are plainly new fronts in their war on meter itself. The automaton shtik gives the game aside. Transforming themselves into immortal creatures, they express themselves through gleaming, chromed-out, formally perfect pop music songs built to endure the decay of human body. They apply Dr. Frankenstein ‘s approach to the past, re-animating disregarded samples and saving their collaborators from the brink of obscurity. In their worldly concern, nothing has to age—and if it does, you just bring it back. then as the worldly concern crumbles around us, we build fortresses in our mind. Which is to say, here at THUMP, we ‘ve decided to rank every Daft Punk song because arbitrary lists are the only things that make smell anymore. We included all five studio albums ( including the Tron soundtrack ), american samoa well as numerous remixes, B-sides, and songs they ‘ve produced for artists like Kanye West—though if there were multiple versions of the like track, we only chose the best one. Some are all-time classics ; some, not therefore a lot. All told, the catalogue includes 102 tracks comprising an aesthetic vision equally distinct as the duet ‘s silhouettes on that iconic Coachella billboard. More than anything, it ‘s a reminder that the fortunate robots will always be there, spinning our favorite memories back to us one more time.— Ezra Marcus Daft Punk carve out the fragmental hearts of previous songs, preserving their perfume in digital amber. The like themes occur over and over ; Thomas Bangalter and Guy-Manuel de Homem-Christo are drawn like moths to the flames of love affair, young person, and parties—emotional and physical settings where clock melts away. People play their hits at weddings, banish mitzvah, and graduation parties because they want to remember those moments everlastingly, and the songs feel dateless enough to end that hanker. In an earned run average where chaos reigns, Daft Punk provide stability. It ‘s unvoiced to overstate how much of a disappointment Human After All was for Daft Punk fans—their first base two records, stuffed with bright samples and impeccable sequence, felt as profoundly researched and cared for as zen rock gardens. Human After All—famously recorded in two weeks—sometimes does n’t sound as if they ‘d flush listened all the way through. Case in point— ” television Rules the nation. ” The only thing more bumbling than this sung ‘s gurgling fart of a bass line is the woke-ass outspoken sample—it ‘s the track title repeated ad nauseum, as if you ‘re being assaulted by a lunatic wielding a Banksy post horse. french touch meets the Flobots, with more than a touch of Meatloaf. —Ezra Marcus

Rumors abound that this minimally manipulated racetrack was a fathead at the expense of Franz Ferdinand ‘s hunger for a remix from the robots, but the electrostatic scrape Daft Punk tacks on actually does add a bit of necessity edge to this blunt ipod commercial staple. Prank or no, the band seem to have labor it. In 2013, Franz Ferdinand frontman Alex Kapranos had this to say of the rework ‘s near-identical structure to the original : “ I guess it was a moment of a nod from the Daft Punk guys to say : ‘Ach, you got it more or less right. ‘ ” Sure, yes, that ‘s it.— Colin Joyce Daft Punk ‘s childlike nostalgia is separate of what ‘s made the couple ‘s tracks thus heartwarming over the years—especially on their competently titled meditation on reminiscence, Random Access Memories. But allowing Giorgio Moroder to wax ecstatic for minutes at a clock on the path that bears his name is more like listening to a distant relative ‘s war stories than the disco biography the group likely intended. The retrofuturist implemental moments are better—particularly the interstellar sea bass solo around the track ‘s midpoint—and a admonisher that history lessons are n’t constantly best delivered as lectures.— Colin Joyce A chunky, self-consciously “ actual Instruments, Bro ” funk furrow with alcoholic details—you could about eat that confectionery guitar riff—brought toss off slightly by an aggressively average Pharrell vocal. Sounds like something you might casually Shazam if you heard it on Sephora ‘s in-store playlist.— Ezra Marcus Looking back, Daft Punk and Tron seem like a fatten match. The erstwhile are a copulate of faceless androids whose humanity is only apparent through their music ; the early is a fabricated worldly concern in which computerize avatars turn out to be veridical people, or at least something close to that. What brings the two entities in concert is electricity—in the case of the robots, it ‘s found in an album of pulsating synths that course through your veins. In the film, might is expressed through an electrify grid where sad saps struggle it out to the death, or eventual glory ( or both ). Or possibly their common grind was good cool-looking lights.— David Garber

50. Chemical Brothers, “Life is Sweet (Daft Punk Remix)”

The Chemical Brothers and Daft Punk were two of the foremost electronic bands I got into when I was 18. exit Planet Dust became my stone album. I listened to it religiously while smoking and writing by myself. belated, when I was 23, I incidentally discovered this remix for “ Life Is Sweet ” while making a DJ shuffle for a ally ‘s birthday party. I loved how Daft Punk kept the guitar parts from the original, but turned the rest of the birdcall into more of a jacked-up electro-house track. It felt proper at home with Le Knight Club, Felix Da Housecat, Sebastien Tellier, and some other obscure french firm tracks I put on the desegregate. The remix went over well at the party, but it was n’t the last Daft Punk birdcall I ‘d hear that night. person else put on a actually icky remix of “ One More time, ” and it about killed the solid night and turned me off the birdcall forever.— Max Mohenu

49. “Technologic”

48. Junior Kimbrough, “I Gotta Try You Girl (Daft Punk Edit)”

47. “Give Life Back to Music “

I ‘ll never forget hearing this traverse in my senior class college bedroom for the foremost time. While on a hike—smoking a joint in the woods—with some friends one good afternoon, we caught a whiff of the long-awaited Random Access Memories. After listening to the full adaptation of “ Get Lucky ” while dancing around like pit idiots, we ran back to the car and headed back to campus . I made a beeline for my board, plugged my iPhone into my speakers, and hit play on the first cut of the album that would soon change everyone ‘s life ( or, at the very least, their year ). Like the grooviest welcome mat I ‘d ever heard, a seductive wash of instrumentation took me over before Nile Rodgers ‘ cheerful guitar line invaded my innards, and a automaton voice entered the room. “ Let the music in unite, just turn on the music, ” it said. They had me from the first note ; I still get chills thinking about it.— David Garber

46. Scott Grooves, “Mothership Connect (Daft Punk Remix) “

As immortalized in their early nod to DJ lore, “ Teachers, ” Daft Punk have constantly had a cushy topographic point for the American house and techno legends that helped pave the way for their careers. While Scott Grooves does n’t actually receive a shoutout on the aforesaid track, the robots had a find to throw a French-touch spin on the Detroit caption ‘s collaboration with Parliament off his classic 1998 album, Pieces of a Dream. It ‘s potential that the remix came to fruition as a result of both artists being signed to the iconic Scottish label Soma—which besides famously released the duet ‘s germinal shoot, “ Da Funk ” —but Daft Punk ‘s loving lead on the path seems like more than a label privilege ; it ‘s the sort of bleary, friendly rework they ‘d entirely ever give to one of their heroes.— David Garber

45. “Derezzed “

Nestled among the more anonymous and abstract pieces that make up the Tron : bequest mark is this gleaming moment of film-grade neon. A chondritic deform synthesizer loop kicks off this bumble, synesthetic electro cut, which rolls with its choke wide open through a brief minute and 44 seconds. Like the film it soundtracks, it ‘s full of the freewheeling panic of playing an arcade cabinet you ‘ll never quite master—the kill screen coming ages before you expect it.— Colin Joyce

44. “Superheroes”

For many years, I thought the lyrics throughout this slice of euphoric triumphalism were, “ Gungans in the air ” —a reference to the Jar Jar Binks species in Star Wars : The Phantom Menace. I must admit, believing the sung to be a sort of military rally-cry for a race of man-sized space amphibians has only ever enhanced it in my eyes. Fair to say this is n’t the most nuanced or emotionally arresting thing Daft Punk have produced, but there ‘s an unabashed rejoice to be had when they enter the region of pure maximalism. —Angus Harrison

43. “Drive “

Created in 1994 but still not officially released, “ drive ” is a foreign spirit for the robots. The repetitive song sample of the parole “ drive ” and the heart-pounding rhythm tactile property of a piece with their debut unmarried “ The New Wave, ” which they recorded around the same time. But those looking for early flashes of glare in cast-off studio sessions would be advised to look elsewhere. “ Drive ” is something else all in all, an austere choose on bone-dry techno from a duet that would become known for their efforts to breathe life back into music ‘s more synthetic corners. The traverse is Daft Punk at their rawest—whether or not that ‘s a effective thing is up to you.— Britt Julious

42. “Alive “

“ alive ” ‘s long development is function of what makes it thus endearing. It was born in zygotic shape as the duet ‘s debut individual “ The New Wave ” in 1994, then late mutated into the gleefully mechanistic adaptation that ‘s on Homework, before becoming the adamantium anchor of so many of their bouncy shows over the years ( and even lending its name to their iconic know record ). hera, many of the group ‘s more interesting sonic elements glow : resound synths, rumbling cycle, and a colored, about foreboding tone that sounds rooted in the android iconography that would come to define the duet. But its magnificence lies, not in those machinations, but in its nature as a live document, a lento shifting piece that could always adapt, and would never die.— Britt Julious

41. “Daftendirekt “

Like all of house music ‘s greats, Daft Punk are capable of making an implemental eternity feel like an instant—but the genius of “ Daftendirekt, ” which appears on foremost listen to be one of Homework ‘s minor tracks, is that it somehow manages to do the face-to-face. With a creeping filter swing across a one sample occupation of vocals—something to the effect of “ C’mon the funk back to the bum, ” but left measuredly ambiguous—they stretch a single sample into an epic poem. It was the first gear lead on their first album, and a common presentation for their live shows in the era. As such, its time-stretching consequence feels auspicious : a dizzy suggestion of the shape of Daft Punk to come.— Colin Joyce

40. “Burnin’ “

The style of “ Burnin ‘ ” might imply a mighty sonic hell, but Daft Punk ‘s protection to conflagration is content to cruise along. It ‘s surprisingly comfort and bubbling, with zapping laser sounds providing most of the sparks. The lone real escalation is the blare of a fire truck siren, although that sample is promptly consumed by the synths, without much ostentation. “ Burnin ‘ ” is less of a wildfire and more of a hearth, illuminating and warming a disco quite than destroying it.— James Grebey

39. Prince, “Kiss (Daft Punk Remix)”

many have tried their pass at massaging the Purple One ‘s alien R & B transmissions into more club-friendly shapes, but none but Daft Punk had “ Da Funk. ” The couple ‘s edit of “ Kiss ” —never formally released but floating around on versatile bootleg comps, its original birthplace unclear—adds just that, incorporating the blister lead occupation and leaden low end from their 1995 individual to ballast some of the original ‘s interstellar lift. It about feels like cheating to send a classic pop song and one of your own biggest hits on a collision course, but few remixes have always felt this weighty—like a monolith slammed down in the center of the dancefloor.— Colin Joyce

38. Kanye West, “Black Skinhead” (prod. Daft Punk)

As with any song that emerges from Kanye West ‘s close and highly collaborative studio procedure, it ‘s unmanageable to tell where any particular artist ‘s creative stimulation ends and another ‘s begins. silent, it ‘s hard not to credit rating Daft Punk with the galloping pace and punishing drums of this Yeezus standout. “ Black Skinhead ” features some of Kanye ‘s sharpest, most political lyrics always, so it makes common sense that he ‘d choose two producers as passionate, possessed, and obsessional about music as he is to bring them to life.— Ezra Marcus

37. “High Fidelity “

The headliner of “ high Fidelity ” is the fucked up sax riff that punctuates the song ‘s otherwise smoky vibration. The warped sample distribution of Billy Joel ‘s “ Just the Way You Are ” is transformed from an 80s standard into mysterious glitched out techno-noir. The harsh closed circuit gives everything around it a paranoid, sinister spirit, and the convinced, thumping beat underneath wo n’t stop.— James Grebey

36. Gabrielle, “Forget About The World (Daft Punk Don’t Forget The World Mix)”

The begin of Daft Punk ‘s reinvention of Gabrielle ‘s dreamy R & B track is development in natural process. It starts with a screaming drove of children before finally giving way to warped voices, each urging the hearer to “ forget about the worldly concern, ” like a cybernetic auditory hallucination. Though one of those insistent voices seems to win out in the goal, it ‘s concisely waylaid by an unstoppable beat. It ‘s hush there, though, like a hard-to-forget articulation lingering somewhere in the back of your head.— James Grebey

35. Ian Pooley, “Chord Memory (Daft Punk Remix)”

Ian Pooley, consecrate him, has one of those determinedly monotony names that always makes you associate said person with blue Tuesdays in November. Ian Pooley is the diagnose of a local plumber or a lower league left-back or a fail restaurant owner or a chap you see in the local anesthetic wallpaper because his winning lottery slate turned out to be talk through one’s hat. This gloriously squelchy remix makes you forget about all that. For a few minutes, “ Ian Pooley ” is the name God ‘s choose to disguise himself on Earth, and Daft Punk are his anoint messengers.— Josh Baines

34. “Get Lucky”

Okay, there are a ten thousand of approaches here. You can fight it, go on the defensive, make disparaging claims about “ Get Lucky ” being a rehash of every Chic song always written, and report Random Access Memories as nothing more than the bloat experiment of two overfunded Studio 54-fetishists. Or you can go broad post-ironic, and wax lyrical about the song being one of the true pop behemoths of the 21st century—a pristine, precise thing of undeniable groove and beauty. Or you can go full funnyman and pretend you ‘ve never heard of it . Whichever way you look at it, since its arrival in 2013, “ Get Lucky ” has caused more of a bustle than many pieces of music are likely to in our life. From the Coachella trailer, to the Grammys operation featuring Stevie Wonder, the song has cemented itself as an real property object on the landscape of twenty-first hundred pop culture, one that will be celebrated at wedding receptions across the earth for time immemorial. —Angus Harrison

33. “Emotion “

From the slow, bouncing bass line to the synth that warbles like a circling songbird, “ emotion ” pulsates with an uplifting lackadaisical energy that ‘s easy to get lost in. There ‘s a little more insistence, drive, and purpose as the track goes on, slowly building in book if not tempo—like a lazy rise in the woods that takes on renewed purpose when you think there ‘s something lurking behind you. As the song climax, though, it ‘s all rejoice, that free of tension you experience when you realize that ill rustling was good, say, a rabbit in the underbrush.— Meilyn Huq

32. “Musique “

Daft Punk are nothing if not self-conscious. even when making running, floor-filling filter house in their earlier days, they ‘d give things a little spot of a tweak on the intrude. Take this head-bobbing B-side to their deity 1995 individual “ Da Funk, ” for example—a more anonymous but no less endearing take on the retro-futurist voice they ‘d come to own over the adjacent ten. Its function is pass : keep bodies moving. Its style cuts straight to the point : “ Musique. ” Nothing more, nothing less.— Colin Joyce

31. “Oh Yeah “

Oh yea, what ? certain, the synth-children that Daft Punk rounded up for this Homework cut are excited, if a little flat. But it ‘s not clear why, precisely, they ‘re so psyched. Plus, the off-kilter, rickety beats and static-laden “ error ” sounds do n’t quite seem to match their lyrical enthusiasm. possibly it ‘s because “ Oh Yeah ” is barely a snorkel. Screaming to the dance is tiring cultivate, but it ‘s important to might through a calm in order to keep a party going cashbox dawn.— James Grebey

30. “Touch “

If there was one thing I wish music made me feel more much, it ‘s overplus. Genuine, skin-crawling, catching-your-dad-wanking overplus. The kind of overplus that seeps into every character of your being, and never leaves. That kind of embarrassment is the embarrassment I feel every clock I come into contact with “ Touch, ” a song that ‘s so monumentally awful on every level that it becomes car-crash-transfixing. It is a piece of artwork that no one asked for, no one needed, and no one particularly wanted. But about three and a half years after the first time it made me feel brainsick to my abdomen, it ‘s still lodged in my inner jukebox, and every fourth dimension it hovers into hearing, I am reminded of the potent power of total and utter sincerity.— Josh Baines

29. “Fresh “

even a ring as capable of generating universally beloved hits as Daft Punk has to take some clock to experiment a sting. “ fresh, ” which first appeared on the duet ‘s debut album Homework, begins with the reasoned of ocean waves crashing on the shore. A guitar slowly pierces through the steady sounds of the water, before a sleepy synth and distant house beat flow in. It ‘s a gorgeous and breezy wonder, good suited to the goal of the night than the top out dance floor moments that have come to define the group ‘s end product. The group has n’t released much like it since, which is contribution of what makes it still feel then, well, fresh.— Britt Julious

28. “Revolution 909 “

Daft Punk came up with this cyberpunk echo of “ Fight for Your Right ( to Party ) ” in response to the french government ‘s misguided attempts to crack down on rave culture in the late 90s. Joke ‘s on the feds though, because persecution then often leads to capital art. Chattering voices and emergency sirens at the beginning of the sung transition seamlessly into a regular, adrenaline-addled pulse that barrels along regardless of any consequences. It ‘s a frantic pulse, because you ‘re doing something wrong for all the right reasons. And, yes, possibly you ‘re on drugs, besides, but that ‘s not actually the point.— James Grebey

27. “The New Wave “

Released before either member of the duet would ‘ve been previous enough to drink in the States, Daft Punk ‘s debut single “ The New Wave ” is something of an outlier in their kaleidoscopic catalogue. Built around a pummel gripe drum and a few acerb belches, the 7-minute wax translation is a night tug through techno ‘s desolate monochromatic landscapes, a broken-headlights exploration of the unknown industrial areas surrounding dancing music. There ‘s still the lead-footed momentum of their by and by works, but “ The New Wave ” is wonderfully sparse—the rare release in their catalogue that follows through on their conceptual promise of metallic car music.— Colin Joyce

26. “Doin’ It Right “

An odd duck among Random Access Memories ‘ more organic outings, the synthetic ecstasy of “ Doin ‘ It Right ” is a grown-up version of Daft Punk ‘s earlier exhortations to lose yourself to dance. But where many Homework cuts seem caught up in the euphoric moment, “ Doin ‘ It Right ” offers a somber hopefulness. The vocoder loop of Panda Bear ‘s vocals projects a find of timid expectation—the promise that this night could…might… will be arrant —while his choir reveals an uncharacteristically raw, human slope to Daft Punk ‘s robotics. It ‘s not all gloom, though, because there is silent a luck that the magic trick will work. This track just implicitly acknowledges the bittersweet possibility that it won’t.— James Grebey

25. “Rock’n Roll “

It would n’t be until 2005 ‘s “ Robot Rock ” that the couple would fully indulge their affection for guitar-slinging shabbiness, but this Homework cut was an early protection to the stadium vigor that all your favored rock bros perfected inaugural. The stuttery sample distribution midway through may sound more like musique concrète, but the dull build toward euphoria is straight out of a Jimmy Page solo, a dense tease brought to a shuddering zenith by the continuous thunder of a sample drum kit out. It ‘s not one of their pop hits, but the direction they were able to borrow from different genres and forms and apply those lessons in unexpected ways possibly demonstrates why they had those hits in the first place.— Colin Joyce

24. “Aerodynamite “

“ Aerodynamite ” —a glimmering rework of Discovery ‘s “ Aerodynamic ” —foreshadows the disco-indebted luxury that a late generation of electro acts would transmute into outright luxury. But despite their casual populism, Daft Punk have always practiced admirable chasteness, ballasting the nobility of the master with a baleful earthiness in the chief motif. That feeling become more intense as the track moves forward, suggesting a black cloud behind the silver-lined pile that the racetrack opens with—a trace that the kingliness of “ Aerodynamite ” is mere fantasy, an annex of the dancefloor ‘s escapist power.— Oliver Kinkel

23. “Make Love “

Human After All is a deeply flawed album, but this wyrd small jewel offers a contact of gladden amid the crazy bombast. The delicate Durutti Column-esque guitar riff wraps you casually around its little finger, while muted drums and a diaphanous string of vocals transport you to a perfumed garden. Enjoy your vacation while it lasts, though—next on the record comes the soul-sucking churn of “ The Brainwasher. “ — Ezra Marcus

22. “Veridis Quo “

“ Veridis Quo ” is a strange here and now on Discovery. Nestled in a ocean of otherwise cinematic displays, the threaded organs make for a measuredly easy, about arcadian, touch. As they lightly intertwine, we ‘re reminded of Daft Punk ‘s capacity for commiseration. This is the breath of oxygen punctuating the outstretched charming across-the-board that makes up the rest of the record. But barely as you ‘re about to take the cut besides seriously, you realize that the Latin-sounding title is in fact a sneaky rejigging of the words “ identical disco. ” Turns out, they ‘ve got a smell of humor, besides. —Angus Harrison

21. “Indo Silver Club “

Tucked near the end of Homework, this elusive gem is much overshadowed by that read ‘s more aureate numbers. It ‘s more of a tool than a show-stopping highlight, but do n’t let its charms escape you—played on the right dancefloor by the right DJ, it literally makes fourth dimension melt. When it ‘s over, you ‘ll emerge from your reverie drenched in effort, with lipstick on your collar, person else ‘s cigarette in your mouth, and a crystalline memory already fading from your mind.— Ezra Marcus

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