
Daft Punk Charts A Brand New Hit Album, Though Fans Already Love The Music
Daft Punk's Tron Legacy soundtrack returns to the U.K. charts as a renamed version, earning spots on ... More the Official Dance and Soundtrack Albums rankings. INDIO, CA - APRIL 20: Guests dressed as Daft Punk performs with Arcadw Fire at the Coachella Valley Music and Arts Festival at The Empire Polo Club on April 20, 2014 in Indio, California. (Photo by Tim Mosenfelder/WireImage)
Daft Punk may have disbanded years ago, but that hasn't stopped the French electronic duo from continuing to land wins on the charts. While the musicians behind the name have gone their separate ways, the brand lives on through a mix of remastered projects, remixes, and re-releases that keep the music they made alive. This week in the United Kingdom, a slightly updated take on one of the duo's most beloved works launches on a pair of rankings, giving the act yet another hit.
This frame, Tron: Legacy — a project Daft Punk originally dropped more than a decade ago — makes a comeback on two U.K.-based charts. Technically, it's not a brand new release, but rather a slightly altered edition that appears to have been labeled just differently enough to be counted as a distinct charting entity.
The collection has already spent time on both of the rankings it now appears on, but the new version, titled Tron: Legacy OST (for "original soundtrack"), is being treated separately by the Official Charts Company. That minor name tweak likely played a role in its eligibility this week, and it works out in Daft Punk's favor.
Among the two U.K. rankings on which Tron: Legacy debuts, it performs best on the Official Dance Albums chart. The set starts at No. 21, which is a solid showing for a project that isn't technically new. The debut gives Daft Punk its twelfth appearance on the dance-only tally.
In addition to performing well on the dance-specific ranking, Tron: Legacy also appears on the Official Soundtrack Albums chart this week, which is fitting. Daft Punk has now scored three appearances on that tally, and all of them are tied to Tron: Legacy in one form or another.
The original Tron: Legacy soundtrack was a sizable hit in the U.K., spending seven weeks at No. 1 on this list. A companion remix project, Tron: Legacy: Reconfigured, also performed well, missing out on becoming a second leader by just one space.
Even though it was tied to a blockbuster film, Tron: Legacy never earned quite the level of critical acclaim or awards recognition that some fans felt it deserved. Still, the album has become a cult favorite — not just among Daft Punk devotees, but also within the modern film score space. The soundtrack is often cited as one of the more inventive uses of electronic music for a movie.
There's more to come in the Tron universe, but not from Daft Punk. A follow-up film, Tron: Ares, is on the way. The upcoming installment stars Jared Leto and Jeff Bridges to front the movie. This time around, the score is being handled by Nine Inch Nails — specifically Trent Reznor and Atticus Ross, who have already claimed the Best Original Score Academy Award in the past.
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'That's something that she's always really thinking about and conceiving as a part of how she's telling the story,' he added. He noted that some songs such as 'Within' by Daft Punk were in the script. 'She has a pretty clear vision of the general style of music and probably a handful of artists and songs. Then I get to really build off of that and bring her new ideas, things that maybe she didn't know and delve deeper into research, especially with a period piece,' he said. WHAT WAS THE FIRST SONG YOU LICENSED FOR 'FOREVER'? The first song we licensed that actually ended up in the show, finally, was the Daft Punk song 'Within' because that was scripted. It's not that they say any lyrics or anything from it in the scene, but it was just really important that we knew we could have that song from the beginning. We're talking pre-production. I'm probably one of the early people that they hire on the show. We're talking from the beginning about ideas and sending music back and forth, reading early versions of the scripts. I knew what this was going to entail, a lot of music. Those are exciting projects, because it means that the music is going to be a really important character in the show, and it's going to be highlighted and upfront and featured. That's exciting for me. THE MOST SIGNIFICANT SONG IN 'FOREVER'? That's a tough one to answer because there's so many songs in there. There are so many moments that where the songs really drive and help tell the story of the show. If I had to pick one, I'd have to go with 'Blessed' by Daniel Caesar, which plays in episode five, when they finally kind of realized that they're coming together. She's searching for him on Martha's Vineyard, and they finally connect and have that moment together. It continues to play through them connecting as a couple. 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Sometimes there's a little bit more gathering of information to make sure that the music is being presented in the best light. I think a lot of times people, especially jazz musicians, they're excited. How many artists need to know exactly how their song is going to be used? I'd say it's a pretty small number these days. When we approach, we explain what the show is about, generally, and tell them the scene and how the song is used. There's some information that everybody gets, but I'd say it's maybe 10% to 15% of artists that want to dig deeper and maybe want to see a clip of the use, or have a conversation to know a little bit deeper about the context, and are they going to be presented in a negative light. Sometimes there may be a scene where a character reacts to the music, and then you might have to explain the context of a scene. I had a film, Los Frikis, where we used Barry Manilow, and there was a moment where a character reacts negatively to Barry Manilow's music, but then by the end, there's an arc where Barry Manilow's music comes back, and everybody appreciates it and talks about how cool he was. THE HARDEST SONG TO LICENSE FOR FOREVER? The hardest one in Forever was Travis Scott's 'Butterfly Effect'. It wasn't that he didn't want to approve the song or had any questions of how it was used, but really more he's hard to get to, and he was hard to nail down the approval and get the response from his label. I was trying for weeks, months, probably. Through a mutual friend, I had to get to his manager, who still took a while to respond, and then they were very gracious about it. 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I've been doing this for a while and worked on shows that used a lot of hip hop over the years, so I've dealt with a lot of those kind of situations with agreements not being finished, songs being brand new, and having those negotiations worked out. Depending on who's making the show, some people are a little bit more willing to wait and get approvals, as long as those things get figured out. Some people a little bit more strict about that. Those things can go on for a very long time, into the future, after the show gets released. Some of those emails will pop up in my inbox every once in a while, but usually they get resolved over time. One of the benefits of this show being set in 2018 is that like the music has been around for a few years, at least by now, some of these songs have been licensed already, so a lot of that had already been worked out. When I was working on Insecure, we were getting brand new music, fresh out of the studio, people creating for us, or wanting to get us their music immediately, because they wanted to be on the show and have it part of their release, and that was a huge amount of work dealing through clearing songs. [With samples], the labels are really cautious of that but they also know that they have catalogs, and they want to be able to monetize those catalogs, and if something is held up by a tiny little sample that they may or may not know about, they have to weigh the risk of granting that approval or not. They're obviously trying to work through how they can either fix those things, replace them, get them cleared, have somebody redo the tracks. Sometimes they just don't want to know, because they would rather be able to license it and keep things moving as they have throughout the years. 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