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20th Century Fox presents Phantom of the Paradise A Gothic Horror Story

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what was that?

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Born in Paris in the mid-1970s, Thomas Bongaltaire and Guy Manuel de Almam Christo met in middle school and bonded over a shared love of cinema. They'd go to the movies every week, often re watching the same films again and again. Their favorite film was this Phantom of The Paradise, a 1974 rock opera about a masked composer who lives alone in a small room packed with synthesizers, obsessively writing music while seeking revenge on a powerful record producer who stole his work. The young Parisian boys watched Phantom of the paradise over 20 times, with Thoma revealing decades later that it was, quote, the foundation for a lot of what we are about artistically. In hindsight, the comparison tracks a masked musician hidden from the world, able to communicate only through music and technology, and deeply weary of the exploitative music industry even as middle schoolers long before Daft Punk existed. This was the kind of story that resonated with young Thomas and Giman. Of course, the two Parisian teens would also bond over a shared love of music. In high school they were drawn towards 60s pop and psychedelic rock, including T. Rex Love, the Doors, Jimi Hendrix and the Beach Boys. This Beach Boy song, Darlin, would eventually inspire the name of Thoma and Gimon's First Band. Formed in 1992 while still in high school, the band included a third member, Laurent Bronkovic, who responded to a flyer the boys posted at a local record shop. Darlin was a guitar driven rock band with Gimon on vocals and guitar, Thomas on bass and Laurent on guitar. So Loud. This song, Cindy so Loud, was one of just four known tracks Darlin ever recorded. Two of their songs landed on a compilation vinyl released by the British indie label duophonic in 1993, the release itself might have faded into obscurity if not for a now infamous review and Melody Maker who devoted just a single sentence to Darlin, a sentence now immortalized in music history lore. The two Darlin tracks are a daft Punky trash called Cindy so Loud and a bizarre fuzz guitar reading of the Beach Boys. Darlin'daft Punky Trash. A put down turned prophecy ironically embraced by two teenagers on the verge of reshaping music history. By the time that dismissive review was published In July of 93, Darlin was all but over anyway. The group's third member, Laurent Bronkovitz, he'd move on to help form the rock band Phoenix. Yes, that Phoenix. As for Thoma and Gimon, they had already become infatuated with the new love, one that would cause them to abandon their guitar band ambitions altogether. In a Rare interview from 1993, Gimon said, quote, about four months ago we decided to completely stop doing rock music. We wanted to make house and techno. Thoma and Gimon's interest in electronic dance music can be traced back to at least November 10, 1992, when they attended their first rave on the roof of the Pompidou center in Paris. The world they stepped into that night was an emerging house and techno scene. Born in underground clubs in Chicago and Detroit in the late 80s, the movement spread rapidly across Europe and by 1992 Paris had begun cultivating its own small but passionate scene, fueled by pirate radio, illegal parties and warehouses transformed into all night dance spaces. It's not hard to imagine why two young, impressionable teenagers would fall in love with this underworld. The Beach Boys and the like belonged to a generation past. This was the future, a vibrant, pulsating communal experience driven not by bands with guitars, but DJs with electronic machinery. That night at the Pompidou was Thomas and Gimon's rite of passage, a pivotal step into an underground that would soon define their creative lives. Thomas said of the experience, we weren't yet 18 and we were finally going to a rave at the Pompidou. We heard things like Hard Floor and from that night on we started going out all the time. At last we would discover Chicago house and Detroit techno, the dance music that would change our lives. In January of 1993, Thomas received some money for his 18th birthday and began building a makeshift studio in his bedroom, transforming the space into something straight out of Phantom of the Paradise. I bought a Juno 106 synthesizer and a small Akai sampler with a Simple mono output. My father had also given me a Minimoog, and we'd gotten hold of a sequencer, a mixing console and a small compressor. I plugged everything into a boombox I'd had since I was 11. Everything was set up in my room on a trestle table, and I moved my bed to the guest room. In fact, we started making things with that equipment even before the Darlin record came out, unquote. One of these early stabs at electronic music can be heard in a track now known as Untitled 18, credited to Darlin. While it's clearly a crude attempt, you can actually hear inklings of the warm, disco inspired sound that would eventually define their mature work. It's almost inexplicable how quickly Thoma and Gimon mastered their new instruments. Untitled 18 was most likely made at the beginning of 1993, and by the end of that same year they were making stuff like this. Titled the New Wave, this track shows incredible growth both in composition and technological proficiency. The song is seven minutes long and clearly influenced by the industrial techno sound they'd been immersed in. At the heart of the track is a cold, punchy kick drum beating at a frenetic 140 beats per minute. On top of this, we hear a percussive white noise created by a heavy use of effects, namely delay and reverb. This was a key part of electronic music's experimentation and innovation. Effects and filters used almost as instruments unto themselves, creating entirely new abstract sounds and textures. Eventually, this percussive foundation is layered with two synthesizers and additional drum sounds. As you listen, notice how harmonically static the song is. There's no chords, no melody, just two notes looping endlessly over and over. Techno often favors this kind of rhythmic repetition over melodic development, and that harmonic stasis is critical to the genre's hypnotic spell. It's like a turbine spinning in place, generating constant energy. An ideal soundtrack for a dancer charged with motion, yet anchored to the same square of the dance floor. About the New Wave, Thomas said, quote, we had done the New Wave with just a sampler and a synth. It was more of a tryout. It was our first time doing that kind of music, and we weren't sure what it was yet. It was very basic, but it was enough. By enough, Thoma is referring to the fact that the New Wave landed them a record deal with the small but respected indie label Soma Records, becoming Daft Punk's first official release. In the months between getting that deal and pressing the vinyl, the boys had made an entirely revamped version of the song they named the New Wave final mix, which became the records B side A Back to back comparison of the two tracks again shows just how rapidly Thoma and Gimon were mastering their new electronic instruments. Here's the New Waves opening moments, followed by that same passage in Alive. You could hear the difference right Alive is rich and round and expansive, making the New Wave sound a bit tinny and cold in comparison, something even more apparent in the song's climax. Again, here's the two back to back. Crazy. The difference a few months can make right Alive fills the entire sonic spectrum. The synths are bigger and warmer, the groove is more energized. Alive sounds alive. The New Wave EP arrived in April 1994, nearly a year to the day after Melody Maker's dismissive review of Darling. It wasn't a hit by any means, but it was enough to put Daft Punk's name on the underground map. At just 19 and 20 years old, Thoma and Gimon were no longer mere observers of the scene they loved, they were now actively contributing to it. Daft Punk's next release with Soma wouldn't come for another year. During that time they continued to frequent dance parties and began trying their hand at DJing. But the most important work was happening behind the scenes in that makeshift bedroom studio where Thoma and Gimon's creative evolution continued to accelerate at a staggering pace. Because if the New Wave to Alive was Daft Punk moving from promising to polished, then what came next was something like a quantum leap.

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As would become the norm for Daft Punk, rather than pushing further into the industrial techno sound of the new wave, they pivoted towards something completely different. The two had been listening to a lot of West Coast G funk artists like Dr. Dre, Snoop Dogg and Warren G. Tomas said they wanted to bring that kind of laid back groove into an electronic context. The result was 1995's Defunk, the song that would kickstart Daft Punk's rise from underground producers to defining voices in electronic music. The track opens with the sound of a busy street, with a heavily filtered version of Defunk playing in the distance. It's as if we're hearing the song through the walls of a club, perhaps an attempt to capture the energy of the underground scene the boys had fallen in love with. This urban atmosphere is then abruptly cut off by the song's main drum loop, which originates from the 1979 disco track Bounce Rock Skate Roll Part 2 by Vaughn Mason and Crew. It's unlikely that Daft Punk sampled this loop directly from the original vinyl. Instead, this same drum break appears in Zero G's data file sample library, a popular CD ROM series in the early 90s that contained hundreds of samples pulled from existing recordings. Daft Punk would have loaded this one bar drum break directly from the CD ROM and looped it in their sequencer. Notably, the tempo here is 111 beats per minute. That's significantly slower than most house and techno, whose BPMs typically range between 120 and 150. Now, at the tail end of Defunct's drum intro, we hear a second loop just before the bass line enters. This brief loop also appears in the zero G sample library, labeled simply as Drum Loop 160. Its original source is Barry White's 1973 track, I'm Gonna Love youe Just a Little More, Baby. Daftfunk speeds this breakup quite a bit until it sounds like this. At this tempo, the sample functions like a drum fill, creating a brief, unexpected moment of tension and contrast. It's a subtle but important detail, because when the main drum loop returns, this time with bass and additional drum layers, it arrives with much more impact. Now let's hear this same section, but this time without that drum fill, It's a little flat by comparison. Right? That extra unconventional detail makes all the difference. Something we'll find time and time again in Daft Punk's music this season. Having now established the fully developed rhythm section, Defunk introduces the star of the song, the synth riff. Now, there's a lot to love about this synth riff, especially that incredible tone. We'll break down exactly how they created that tone in a moment, but I first want to acknowledge the riff's composition, the notes it actually plays. And to do this, we need to take a quick detour to Vienna in 1808, the year Ludwig van Beethoven premiered this. This is, of course, Beethoven's fifth Symphony, which features one of the most iconic riffs in music history. Technically, it's what's called a motif, which refers to a short, distinctive idea, typically just a few notes or a rhythm. In Beethoven's fifth, the motif is rhythmic, three short notes followed by a long one. This motif is used to construct the entire piece. The next section repeats the short, short, short, long motif three times, moving higher with each repetition. It starts here and then repeats higher and higher. This entire sequence is repeated again, only this time climbing even higher. Let's hear it now in the full orchestra, starting with the iconic introduction that establishes the motif, followed by a section built entirely from that same short idea. Using motifs in this way gives a piece a very distinct identity. There's enough repetition to be memorable and enough variation to remain interesting. These same basic principles are found in Daft Punk's defunct riff, and it's one of the reasons why it's among the most iconic riffs of the last 50 years. In fact, if you take Beethoven's short, short, short, long motif and reverse it. Long, short, short, short. You get the motivic foundation of Defunk. Hear that? Long, short, short, short. This motif becomes Daft Punk's building block, which repeats three times with each RePet. Again, like Beethoven's fifth, a simple rhythmic motif is sequenced to create structure, distinct identity and memorability, something we remember instantly. By the time the riff repeats, we can Already. Sing along. Now. Along with its strong compositional framework, this riff excels in large part because of its timbre, that is, its sound quality or texture. It's often credited as being played on a Korg MS.20 analog synthesizer, though there is some debate about whether Daftunk actually had one at this time. In any case, my editor Kevin just so happens to have a Korg MS.20, so we'll use it to walk through the basic steps of crafting Defunct's iconic synth sound. So the first step of creating any sound on a synthesizer is choosing a basic waveform. The waveform is the raw sound. We start with the basic audio material. We'll shape and refine. You can think of this like a sculptor selecting a block of clay. There's oil based, water based, synthetic, etc. Each type having its own distinct texture and behavior. Waveforms work the same way. There's a few to choose from, and each one of them has its own distinct character. There's the sine wave, which is very simple and smooth. There's the triangle wave, which is a little more textured. We have the square wave, which is buzzy and hollow. And the sawtooth wave, which is rich and textured. For defunct, we'll start with this sawtooth wave. We'll then layer it with a second sawtooth waveform, but an octave lower. Like the song's layered drums, pairing two waveforms an octave apart gives it depth and texture. Here's both together. Okay, so with our basic waveform selected, our slab of clay, we can begin sculpting it. To do this, we can adjust any number of signal shaping parameters. That's what most of those many knobs on a synthesizer are for. We're going to start with the cutoff knob, which allows us to remove some of the high frequencies from our sawtooth, mellowing out the sound, at least for now. We'll also remove some of the lower frequencies using what's called a high pass filter. With this narrowed frequency range, we can now get to the fun part. We're going to turn up the resonance knob, which amplifies the frequencies right at the cutoff points we just selected. When you turn it up, the sound starts to ring or squelch at a certain pitch, almost like the sound is being squeezed through a narrow opening. Now that we've got our basic shape, we can use what are called envelopes to sculpt how our filters are applied over time. After pressing a key, you might think about this like a mouth opening and closing. It doesn't change the tone of your voice that happens in your throat, your mouth, controls how the sound is articulated and expressed over time. You can hear that movement, right? It gives it some motion and additional character. Now, the finishing touch on our synth tone is distortion, which is going to add some more grit. This is achieved by intentionally overloading the audio signal until the peaks of the waveform are literally chopped off. Think of distortion like pushing your own voice past what it can handle. If you speak softly, your voice is smooth and clean. But if you shout as loud as you can, your voice starts to break up. And raspberry distortion does the same thing to an audio signal. It overloads it until the edges start to grind. And just like that, we have something pretty close to what we hear on Defunk. It's an objectively fantastic tone. And when paired with that motivically sound riff and supported by that killer groove, well, the result is simply magic. Defunk's emphasis on this melody is a total 180 from the new wave and alive. As we heard, those tracks don't have melody in a traditional sense. Their focus is strictly on rhythm and texture and dynamics over time. The riff in Defunk is essentially a hook, an extremely catchy and anthemic one at that. Now, after a few repetitions of the riff, a new sound is added to the mix, this funky little stab. This comes from that same zero G sample pack we mentioned earlier, but the original sound source is from a 1975 song called do youo Thing by disco band Gary Tom's Empire. Daft punk takes the low end out of this horn section hit and uses it like a rhythm guitar part in a funk song. This becomes the lead into funk's Breakdown, where the synth riff drops out and the groove becomes a little softer dynamically. Eventually, though, a brand new synth is introduced, this one even more grimy than the first. This second synth riff is programmed on a Roland TB303, a short lived synthesizer produced from 1981 to 1984. Originally intended to mimic a real bass guitar, the 303 was a commercial flop. But it was later rediscovered by Chicago House producers who transformed its squelching, distorted tone into the defining sound of the house subgenre, acid house. Here's 1987's Acid Tracks by Future, the Chicago house group widely credited with inventing the genre. After finding a 303 at a thrift store, The rise of Asset house made the TB303 a prized instrument for producers, Daft Punk included. Thomas told music magazine Defunct's bassline was from a 303 I'd bought in 1993. I'd just made all these random patterns, so when we were looking for a bassline, we listened to some of the ones I'd already programmed and took the one that fit best. The 303 becoming the central focus of Defunk shifts the song from a laid back dance track to something much more frenetic. It's such an infectious groove that we completely forget about the first synth theme. I mean, the two riffs couldn't be more different. One is singable and anthemic, made up of long sustained notes, while this one is busy and chaotic, composed of short staccato notes and drenched with effects. There's no way these two could possibly go together, right? That would just sound terrible, right? Remarkably, Daft Punk unite the two synth riffs, bringing the song to a euphoric if unconventional climax where every layer we've heard so far is playing at once. It's right on the edge of collapse, like the track could buckle under its own weight at any moment. But that's the magic trick of Defunk. The song is essentially built from a single four bar loop. What we're hearing in this climax is simply every component of that loop stacked together. Over the course of five and a half minutes, Daft Punk teased these elements apart, bringing parts in and out, adding and removing effects and recombining layers to create an audio narrative experience. And it's here, at the point where all these pieces finally combine, that the track reaches true catharsis. Given its current status as one of the most iconic tracks of the 21st century, it's hard to imagine a world in which Defunk was met with nothing other than universal praise. However, Defunk was a little bit of a slow burn, in large part because of just how different it was. It wasn't house, wasn't techno, and despite being inspired by American G funk, it clearly wasn't hip hop. DJs at the time didn't quite know what to do with it. Originally released In May of 1995, Soma Records initially pressed just 2,000 copies of Defunk, expecting it to perform similar to the New Wave. But over the following months, the track began to build momentum. A turning point came when the Chemical Brothers started playing it in their live sets in the summer of 95. The Chemical Brothers had just released their debut album, which sold over a million copies, making them one of the first electronic acts to break the mainstream while retaining underground credibility. Their championing Defunk was a crucial cosign for the up and coming duo already breaking the rules. Here's the Chemical Brothers transitioning into defunk in a 1995 radio mix. Demand for Defunk eventually exploded, and by the end of 1995, Daft Punk's reputation had grown far beyond the size of their catalog. With just two singles, Thoma and Gimon were already being talked about as one of the most important acts in electronic music. It wasn't long until the major labels began reaching out, eager to sign the duo whose mainstream breakout was treated as an inevitability. It was a lot for two artists barely in their twenties, still living with their parents, but Thoma and Gimon handled the moment with remarkable maturity. Instead of chasing the hype or signing with the first label with money, they retreated back to the studio. Here's Giman speaking on their situation in a Rare interview from December 1995. With everything that's happened around what we did, which in my opinion is overblown, I hope that when we go into the studio, since it's been, I don't know, the last track we made was eight months ago, we haven't done anything else and there's been a lot of buzz around just Defunk. Let's just say it all feels a bit much. It's time to take a break and see if we're really able to make music again, not just a single track. I just hope we don't mess it up. Well, it's safe to say that Daft Punk didn't mess it up. Instead, they retreated back into their bedroom studio and emerged a year later with one of the most influential debuts of All Time, 1998's Homework. An album will break down beat by beat, sample by sample. Next time on Dissect, Sam.