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Human After All Enhanced

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Tron Legacy Trailer


The highly anticipated original motion picture score for TRON: Legacy, composed and produced by the iconic and critically acclaimed Grammy® Award-winning French duo Daft Punk, will be released by Walt Disney Records on Monday, November 22, 2010. Presented in Disney Digital 3D™, Walt Disney Pictures’ “TRON: Legacy” hits U.S. theaters on December 17, 2010, in Disney ... Read more in Amazon's Daft Punk Store

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Frequently Bought Together

Human After All + Homework + Discovery
Price For All Three: £21.81

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Product details

  • Audio CD (14 Mar 2005)
  • Number of Discs: 1
  • Format: Enhanced
  • Label: Virgin
  • ASIN: B0007DAZW8
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 3.4 out of 5 stars  See all reviews (47 customer reviews)
  • Amazon Bestsellers Rank: 8,193 in Music (See Top 100 in Music)

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
Listen  1. Human After All 5:19£0.99  Buy MP3 
Listen  2. The Prime Time Of Your Life 4:23£0.99  Buy MP3 
Listen  3. Robot Rock 4:47£0.99  Buy MP3 
Listen  4. Steam Machine 5:21£0.99  Buy MP3 
Listen  5. Make Love 4:49£0.99  Buy MP3 
Listen  6. The Brainwasher 4:08£0.99  Buy MP3 
Listen  7. On/Off0:19£0.99  Buy MP3 
Listen  8. Television Rules The Nation 4:47£0.99  Buy MP3 
Listen  9. Technologic 4:44£0.99  Buy MP3 
Listen10. Emotion 6:57£0.99  Buy MP3 

Product Description

Product Description

Daft Punk return with their first new studio album in four years, entitled Human After All. This is their third studio album to date and the follow-up to 2001's Discovery. Thomas Bangalter and Guy Manuel de Homem Christo recorded the ten tracks of the new album in just six weeks between September and November 2004, in their home studio in Paris. The French electronic music duo came to worldwide attention in 1997, with the release of their debut album Homework. As ever, the music is diverse and fresh whilst retaining their trademark Daft Punk sound, this time with a more spontaneous and direct quality to the recording. A mix of guitars and machines, Human After All takes us from the hardcore "Brainwasher" to the pumping "Technologic", with the addition of rockier tracks such as "Robot Rock" and emotional moments such as "Make Love".

BBC Review

You would have thought that the words "new Daft Punk album" would be enough to get most of us scouring the music press chasing a release date. Their contribution to the party over the years has been remarkable. 1997 would not have been so exciting had it not been for their seminal Homework LP and the dance/pop landscape of 2001 would have been very different without the kaleidoscopic Discovery. However, the delivery of album number three comes as a crushing disappointment.

Regrettably, Human After All seems to be nothing more than Daft Punk fulfilling their contractual obligations to the record company. That it was made in just six weeks accounts for the lack of invention contained within the ten tracks here. For the most part the album sounds like a collection of demos that didn't make the grade for the previous album.

Whilst attempting to satirise our reliance on modern gadgetry "Technologic" uses the same cut and paste vocal samples as "Harder Better Faster..." though it fails to capture any of its predecessors dazzling electro-funk or dance floor appeal for that matter.

This anti-technology theme is carried over to the plodding "Television Rules The Nation" which offers little more than a filtered loop of the song's title over a loping beat. With Michael Franti having nailed the idiots lantern so firmly to the post on the 1992 Disposable Heroes of Hiphoprisy album you do wonder why they have attempted to enlighten us of this self evidentfact in the most un-engaging way.

Perhaps the worst offender here is the closing track "Emotion"... cue 6, long, minutes of more plodding beats and a four chord trick put through the ubiquitous filters.

As the album's only saving grace it is no co-incidence that "Robot Rock" has been released as the first single. This is classic Daft Punk. With the dance floor set firmly in their sights the crashing breaks, mammoth guitar riffs and vocoders are unleashed with a reckless regard for human safety. It's fantastic. If only there were a few more like it.

Despite the themes of this record and the confessional title Daft Punk have managed to sound more machine like than ever. It is as if they have returned to their studio with all the settings still pointing to the year 2001 and pressed the large red button marked with the word "go". If you feel like buying a dance LP and you haven't already done so, get the Mylo album. --Jack Smith

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Customer Reviews

3.4 out of 5 stars

Most Helpful Customer Reviews

21 of 22 people found the following review helpful By B. Broadribb on 25 Aug 2005
Format: Audio CD
My relationship with this album has been one of ups and downs. I managed to get hold of this album about a month before it came out. Four years since Discovery, I was on tenterhooks to hear DP's new stuff. So I listened to it all the way through, and it was a big let down. Not to worry, I thought, these could be unfinished tracks DP have put out to foil music pirates.
The release of the album rolls around and I buy it on the day of release. I once again I was eagerly anticipating hearing it. Needless to say I was kind of deflated when I heard the same stuff which had disappointed me a month earlier. I listened to it all the way through a couple of times, with only the title track and Robot Rock impressing me. So I put the album on my shelf dismissing it as a "difficult third album" and generally not being very impressed. However, I came back to it after a few weeks wanting to hear parts again. Now every time I listen to this album I like it more.
The good tracks generally outweigh the mediocre, and there isn't a truly "bad" track on here. The first three tracks are great, as is Television Rules The Nation. Technologic is also good, but can get a little annoying. The Brainwasher and Steam Machine take a while to get into, but once you get used to them pretty good. Make Love is okay, not just a loop going round for four minutes as I first though as there are subtle changes in the backing, but should definitely have been cut in half at least in terms of length, and would have been fine as a track similar to Nightvision on Discovery. Emotion is a nice chilled way to end the album, but nothing special. That gives you a fairly solid album, although I have to say I sometimes skip the middle third of the album (I include the On/Off skit in that as well).
Give this album a chance.
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2 of 2 people found the following review helpful By enrico on 28 Mar 2008
Format: Audio CD
Whilst I can understand some listeners' concerns that a few of the tracks on this album can become a bit repetitive - or may even appear sketchy in some respects - I believe that the style of 'Human After All' is simply indicative of a shift in direction by the duo, much like 'Discovery' was a change in direction from the raw approach of 'Homework'.
Being a 'Homework' fan, I'm glad that in many respects Daft Punk have returned to their roots in what Mr A. Jack called an "instrumental" direction, as apposed to the "lyrical" style of their second album. However, what has struck me most about 'Human After All' is that it appears to be a stylistic bridge between their first and second albums. It is instrumental, but the sounds have matured since the duo's 1997 debut.
'Alive 1997' was a groundbreaking tour (& record) and, thanks to the seamless integration of many of their classic tracks last year, its 2007 counterpart has achieved equal, if not greater, recognition. In my opinion, the stylistic chasm between 'Homework' and 'Discovery' would not have lent itself to the production of sensational live performances whereas, with the tracks in 'Human After All' also at their disposal, Daft Punk managed last year to create a true live phenomenon around the world. The seamless mixing of 'Superheroes / Human After All / Rock'n Roll' (tracks from all three of their previous studio albums), a feature of their recent tour, is perhaps testament to this. As S.M.Boyd already mentioned, when seen live, these tracks start to make "a lot of sense".
So, if you are unsure about this album and are perhaps dubious as to its artistic merit, I suggest you check out 'Alive 2007'.
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20 of 22 people found the following review helpful By danzibeb on 31 Mar 2005
Format: Audio CD
Okay okay, you're either gonna love it or hate it with a passion. For those of us who absolutley thrived off the Homework album, with its dirty dark repeatitive beats and spaned classics like Burnin' and Teachers, were right back there. Gone is the tidyness of Discovery, and i think if you preffered Discovery and never heard Homework- keep away!- There are no light hearted anime pop tracks here, just deep dark earthy tunes. Robot rock instantly makes your body pop from start to finish, brilliant & simple - such a happy return to their earlier form- go the daft punk!!! :) one for the homeworkers out there.........
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1 of 1 people found the following review helpful By Ali H on 17 Jun 2008
Format: Audio CD
It's worth comparing the careers of near contemporary bands Daft Punk and Air. Both French, both innovators in electronic music and both having critically acclaimed first albums in Homework and Moon Safari.
But where Air seemed to have disappeared into their own vagueness, Daft Punk last hit the studio in 2005, to produce a third album that returns to their roots, an experimental fusion of electro, disco and house.
Recorded in Paris in six weeks, Human After All is a short, idiosyncratic album unlikely to win them new fans.

Experimental means it doesn't always work. Some tracks on here are practically unlistenable, consisting of short loops repeated ad nauseum. For example, it's hard to see the audience for Robot Rock. Seemingly a homage to 80's video game soundtracks, it would need a radical remix to make it in a club, isn't radio friendly and grates to listen to at home.

Most artists seem to struggle to go from breakbeat to house. It may be that having created intricate beat structures, they tend to overcomplicate the simplicity of the 4/4. The Chemical Brothers and Fatboy Slim both sound unconvincing in house mode - and so do two tracks on this album. Television Rules the Nation ends up sounding less than the sum of it's parts, while The Brainwasher does what it says on the tin.

All of which sounds so negative! In fact there are some real standout tracks here. Closing track Emotions, (reminiscent of Quo Veredis on "Discovery") is a great tone track, quite chilled but could be part of a DJ Set.
Technologic is just brilliant, the stand out track from the album. It takes something to make a track that could both have been on the soundtrack to a madcap sci-fi adventure, or is a dark technoir version of Men at Work.
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