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▌────── Release Info ───────────────── ▐▌ ──────────────── ▌ ──────── ▐
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Originally released : 03-15-2005
Release date : 03-20-2006
Album name : Human After All
Artist : Daft Punk
Ripped by : Lilith
Genre : Electronic
Label : Virgin
Encoding Software : Lame EOS
Quality : -V 2
Tracks : 10
Size of Files : 64,1 MB
─ Track list ───────────────────────────────────────── ─── ─ ─
01 05:19 Human After All
02 04:23 The Prime Time Of Your Life
03 04:48 Robot Rock
04 05:21 Steam Machine
05 04:50 Make Love
06 04:08 The Brainwasher
07 00:19 On-Off
08 04:48 Television Rules The Nation
09 04:44 Technologic
10 06:56 Emotion
Total time: 45:36 min
─ Release notes ─────────────────────────────────────── ─── ─ ─
Daft Punk has always been one of dance music's most
flexible ù and accessible ù acts, spanning the
relentless pulse of Homework and the lush, sprawling
Discovery with a distinctive wit and playfulness that
made fans of electronic music diehards and indie
rockers alike. Though the long-awaited Human After All
retains that playfulness, it's the duo's simplest
album, which oddly enough, makes it their most
difficult to embrace at first. Human After All was made
in six weeks, and sounds like it ù and not always in a
good way: the quick-and-dirty recording process and
limited palette of grainy synths, vocoders, and guitars
do lend a stripped-down, spontaneous feel, but just as
often, this minimal approach feels like it's supporting
minimal ideas. Most of Human After All's tracks
concentrate on one or two heavily repeated motifs,
giving some of the tracks the feeling of demos copied
and pasted to a full song length (even more
uncharitably, you could say that they sound like parts
of a Daft Punk beats-and-loops construction kit).
"Steam Machine," for example, starts off strong with a
low-slung, low-rent drum machine beat and aptly hissy
whispering, but fails to do much over the course of
five minutes. Repetition and simplicity, or at least a
certain kind of innocence, have been at the heart of
Daft Punk's music since the beginning, but this formula
doesn't always work on Human After All; this is
particularly true on the album's softer songs, "Make
Love" and "Emotion," both of which are pretty and
evocative, but never quite pack the emotional punch
that they threaten to. And though Human After All's
linear quality is superficially like the duo's more
danceable work, many of the tracks are too slow to
ignite the dancefloor (however, "Television Rules the
Nation"'s robotic, "Smoke on the Water" meets "Iron
Man" guitar riff nails the cleverly stupid vibe that
doesn't always connect on the rest of the album). All
of this makes the album something of an odd beast, and
the baffled reactions of some fans ù some of whom
suggested that Human After All was a fake album by the
band made to foil digital piracy when it leaked several
months before its official release date ù is
understandable. Daft Punk aren't responsible for their
listeners' expectations, but they release music so
rarely that this low-res album with just ten songs (or
nine, if you don't count the 19-second channel-surfing
blip that is "On/Off") does, initially, feel like a
disappointment. However, Human After All's best tracks
do make the duo's somewhat confounding aesthetic
choices work: "The Brainwasher"'s trippy opening and
mischievous riffs have a real sense of tension and
momentum; "Robot Rock" takes Discovery's guitar worship
even further, forging it into cybernetic metal; and the
irresistible "Technologic," with its catchy
technobabble and cheap-and-cheerful disco beat, feels
like the next evolution of tracks like "Teachers" and
"Harder, Faster, Better, Stronger." Since the album is
on a smaller scale than Daft Punk's previous albums,
it's not surprising that its pleasures are smaller too.
The way that the synth, guitar, and vocoder lines blur
into mecha-orga unity on the oddly bittersweet title
track, and the way that the schaffel beat on "Prime
Time of Your Life" gradually overtakes the song,
eventually speeding up and devouring it, may not change
the way listeners think about music the way that
Discovery or Homework did, but that doesn't make them
any less enjoyable. Human After All ends up being just
not-bad (a first for Daft Punk); that may be hard to
accept for fans that demand nothing less than
brilliance from them, but just because it isn't an
instant classic doesn't mean that it's totally
unworthy, either.
-- Heather Phares @ Allmusic.com
─ Contact ───────────────────────────────────────────── ─── ─ ─
Contact us @ : #eos (efnet)
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