Barnes & Noble
French house isn't just a geographical classification, it's a stylistic category -- a distinction that's the result of Daft Punk's 1997 debut, Homework, a woolly slice of wiggly disco-house and cheeky analog-techno that basically defined the style. Selling more than 2 million copies worldwide, Homework introduced sonic quirks -- clipped funk loops, extreme frequency filters, vocoder vocal snippets, goofy repeated chants -- that have become standard operating practice in the world of DJ music, from Cher to Bob Sinclar. Their long-awaited sophomore release, Discovery, picks up where Homework left off. There's plenty of cyborg vocals and banging disco-house, but there are some new wrinkles in the Daft Punk sound. In general, the Parisian pair (Thomas Bangalter and Guy-Manuel de Homem-Christo) display a newfound eclecticism that looks beyond the dance floor for kicks. Here, they tackle '80s-synth pop ("Digital Love"), Air-ish downtempo ("Nightvision"), and electro-jazz fusion ("Short Circuit"), alongside their legendary disco-house floor-fillers ("Too Long," the kickin' single "One More Time"). And they've dispensed with the raw, lo-fi experimental sound of Homework in favor of an über-slick production ethic that is totally '80s -- the new age-padded chords, crispy drum sounds, and frilly keyboard wiggles conjure the same vibe as the Reagan-era funk of Prince and Michael Jackson. It's a joyous, irresistible, and over-the-top sound that's destined to be an international nightclub smash in 2001 -- even if it sometimes sounds like 1981. Michael Endelman
All Music Guide
Four long years after their debut, Homework, Daft Punk returned with a second full-length, also packed with excellent productions and many of the obligatory nods to the duo's favorite stylistic speed bumps of the 1970s and '80s. Discovery is by no means the same record, though. Deserting the shrieking acid house hysteria of their early work, the album moves in the same smooth filtered disco circles as the European dance smashes ("Music Sounds Better With You" and "Gym Tonic") co-produced by DP's Thomas Bangalter during the group's long interim. If Homework was Daft Punk's Chicago house record, this is definitely the New York garage edition, with co-productions and vocals from Romanthony and Todd Edwards, two of the brightest figures based in New Jersey's fertile garage scene. Also in common with classic East Coast dance and '80s R&B, Discovery surprisingly focuses on songwriting and concise productions, though the pair's visions of bucolic pop on "Digital Love" and "Something About Us" are delivered by an androgynous, vocoderized frontman singing trite (though rather endearing) love lyrics. "One More Time," the irresistible album opener and first single, takes Bangalter's "Music Sounds Better With You" as a blueprint, blending sampled horns with some retro bass thump and the gorgeous, extroverted vocals of Romanthony going round and round with apparently endless tweakings. Though "Aerodynamic" and "Superheroes" have a bit of the driving acid minimalism associated with Homework, here Daft Punk is more taken with the glammier, poppier sound of Eurodisco and late R&B. Abusing their pitch-bend and vocoder effects as though they were going out of style (about 15 years too late, come to think of it), the duo loops nearly everything they can get their sequencers on -- divas, vocoders, synth-guitars, electric piano -- and conjures a sound worthy of bygone electro-pop technicians from Giorgio Moroder to Todd Rundgren to Steve Miller. Daft Punk are such stellar, meticulous producers that they make any sound work, even superficially dated ones like spastic early-'80s electro/R&B ("Short Circuit") or faux-orchestral synthesizer baroque ("Veridis Quo"). The only problems on Discovery arise when Daft Punk compensate for the album's lack of six-minute dance tracks by including a few too many half-developed productions like "High Life" and the ambient piece "Nightvision." One other crime is burying the highlight of the entire LP near the end. "Face to Face," a track with garage wunderkind Todd Edwards, twists his trademarked split-second samples and fully fragmented vision of garage into a dance-pop hit that could've easily stormed the charts in 1987. Daft Punk even manage a sense of humor about their own work, closing with a ten-minute track aptly titled "Too Long." John Bush
Rolling Stone
Daft Punk's new single, "One More Time," is... a piece of super-religion with an invincible beat and a nailed-to-the-wall vocal by house singer Romanthony. It is stamina itself, an anthem to "keep on dancing" that's already a huge hit in the clubs and on the radio. All those knowing listeners who bought Homework and signed on for the pair's rascally, nudge-wink grooves now have to figure out what part of "One More Time" is for them. Is there a subversive part of "One More Time"? If so, where does it begin? In its sheer perfection, is my best guess. This is the moment when the indie sensibility implodes before our eyes: when prank-pulling weirdoes, young Frenchmen who hire Spike Jonze to put dog-people in their videos, try to make honest-to-god hits. Ben Ratliff
Spin Magazine
"8"...Discovery's opening is so obliteratingly great it seems the world might be put permanently on hold. Fuck all tomorrow's parties; the sequence swears tonight's never ending....No record this side of Sign "O" the Times or Nevermind could hold such a place.
Joshua Clover
Billboard
An early contender for the year's best dance/pop album. Michael Paoletta
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