The whole dance music world seems to come out in a bizarre display of idolatry whenever Daft Punk are mentioned. The French duo, consisting of Thomas Bangalter and Guy-Manuel de Homem-Christo, were together from 1993 until February last year.

And for reason unknown, the dance music press seems to eulogise them. It appears that doing their job of trying to find a new album destined to be tomorrow’s classic is too much hard work – hence one reason why this band gets promoted hard. Anyone holding a dissenting opinion would never get their opinion into the hallowed pages of Mixmag, for example.

Their split last year wasn’t exactly sadly received by this blog at the time. And nearly a year later, I still feel much the same way. Like many, I was a fan of Daft Punk’s music in the 90s and early 2000s – but their later output beared almost no resemblance to it. And I don’t think they offered anything particularly distinctive during this period.

To be fair, Homework is a good album. I did have a copy of it in the past, and I readily admit I enjoyed it. However, some of the responses are just bizarre – including the curious claim that Daft Punk had roots in Chicago. The two men were actually born in Paris and certainly cite Chicago artists like Paul Johnson as inspiration – but the idea this means the band has roots in the city is plainly absurd.

And whilst I have no problem in celebrating an album’s birthday, I do pose one question. Which album being released in 2022 will we still be listening to come 2047? I only have to do another 25 years of blogging to find that out…