It seemed sort of an attempt at creating a garage album - and I mean garage in terms of both rock and house music. Human After All seemed like something of an ironic commentary on the high esteem with which the group had been held up to that moment: it was an attempt to loosen up, create something a bit more spontaneous (it was recorded in the span of about six weeks, an eyeblink for these notorious perfectionists). Discovery zigged when most people were probably expecting the duo to zag, eschewing hardcore house beats for a lighter retro-pop sound that both inspired and surpassed almost all of the many subsequent attempts at cashing in on the ’70s and ’80s sounds which followed in its wake. Discovery was probably the single best example of French disco house from the late ’90s, the same scene that gave us Cassius and the Paris Is Burning compilations, and still lingers in our memory as the direct inspiration for latter-day nuevo disco outfits like Justice and the Ed Banger crew. All three of their studio albums have attempted something different. I strongly suspect it’ll be one of those albums that gets “rediscovered” in a few years’ time.īut regardless of my opinion, the damage was done, and a group which had up to then held an unblemished record was sullied by the taint of a subpar release. Human After All wasn’t quite as instantly likeable, but it was better than most gave it credit for. Their first two albums were instant classics. While, certainly, it was not as good as either 1997’s Homework or 2001’s Discovery, I hardly think it’s fair to hold those comparisons against the group. There are many who were quite disappointed by Daft Punk’s 2005 release Human After All.
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