Are the duo Daft Punk and musician The Weeknd working together on new music?
Executive vice-president of Republic Records Wendy Goldstein recently said in an interview that the two acts are collaborating.
The Weeknd’s hit 2015 album “Beauty Behind the Madness” was released through Republic Records.
“We have a session coming up … with The Weeknd and Daft Punk,” Ms. Goldstein said in a video interview with Billboard. “I’ve always been a massive Daft Punk fan, and this is the first time that I’ve actually been involved with an artist who’s going to go and work with them.”
After releasing his first studio album, “Kiss Land,” in 2013 as as well as other work, The Weeknd’s album “Beauty” was nominated for such awards as the Grammy Award for album of the year. The album was the origin for such hit singles as “Can’t Feel My Face” and “The Hills.”
Daft Punk, meanwhile, who are also known as Thomas Bangalter and Guy-Manuel de Homem-Christo, were well-known to many music fans for years, with their first studio album, “Homework,” coming out in 1997, and their most recent release, 2013’s “Random Access Memories,” became a huge hit for the duo. The album spawned the hit song “Get Lucky” and is the only album released by Daft Punk to reach No. 1 on the Billboard 200, the chart that measures album sales.
What made “Random” become such a huge success?
Daft Punk are particularly skilled at choosing who to work with, writes the BBC. “Random” included contributions by singer Pharrell Williams, singer Giorgio Moroder, and Nile Rodgers of Chic, among other artists.
“Using Moroder, Pharrell and also Chic's Nile Rodgers on Random Access Memories worked beautifully with the album's retro-futurist aesthetic,” writes the BBC.
And the duo also used old-fashioned methods in new ways of getting the word out about “Lucky” and, by association, the album “Random.” Billboards with Daft Punk’s helmets and the logo for Columbia Records went up in such cities as Los Angeles and New York. “We like how billboards were used in Los Angeles in the ’60s and ’70s to promote album releases,” Mr. Bangalter told Bloomberg. Bangalter says he saw the marketing strategy as “almost a duet between the offline and the online.”
“We knew the music would be consumed on laptops and iPhones,” he said. “We used that same approach in promotion. We told audiences about ‘Get Lucky’ with these iconic, old school marketing strategies like billboards and TV commercials, but ultimately all of those things came through the digital pipeline.”