A pair of Vocoder-distorted voices bounces the words “robot” and “human” off each other until they create a Pong-like pulse. A programmed beat then thunders behind these vocal volleys, and is soon joined by a sampled guitar chug and a keyboard riff tracing the faintest outline of a melody. Hi-hats anxiously shimmy as though counting down toward some liftoff. And then, two minutes into the opening track on Daft Punk’s new live album, “Alive 2007,” the Paris electronic duo launches into the pugnacious combination of synth punches and bass jabs that is “Robot Rock,” from the group’s last studio album, 2005’s “Human After All.” Gone are that record’s prog-rock affectations, though. Here, Daft Punk strips the song down to pure dance-floor adrenaline, looping the titular refrain into a shredded bombast of repetitions before seamlessly segueing into “Oh Yeah,” from the group’s 1997 debut, “Homework.”

And thus the duo of Guy-Manuel de Homem-Christo and Thomas Bangalter sketch the mash-up alchemy running through the entirety of the 12-track thunderbolt that is “Alive 2007,” which is released today on Virgin Records. A veritable greatest-hits parade through Daft Punk’s numerous disco-house anthems, the album mixes and matches the duo’s catalog — alongside a few other favorites — and translates everything into a rushing roller-coaster ride through a sweat-soaked party. Recorded in June at the Palais Omnisport de Paris Bercy, the album captures only part of the multimedia overkill that has defined Daft Punk’s globetrotting live shows over the past year and a half. Given that the duo only played seven American dates during that time (its first stateside dates since 1997), this album might be many fans’ only chance to hear what they missed. And they will be more than pleased: “Alive 2007” is the best live electronic album of the year and one of the best live pop albums in recent memory.

All credit goes to Messrs. Bangalter and Homem-Christo, not only for the deft mix of thundering house beats and disco good cheer that has permeated their entire output, but for the way they’ve reinvented their material for maximum live impact. From “Homework” through 2001’s “Discovery” and even the less lauded “Human After All,” Daft Punk has mined the funky romanticism of 1970s disco and 1980s Chicago and New York house and mingled it with catchy retro vocal samples and futuristic Vocoder vocals, bubbly keyboards lifted from ’60s space-age bachelor-pad jams, and that unrelenting synth bass throb that’s been the heartbeat on the dance floor since the late 1970s. With “Alive 2007,” though, everything feels beefier, more insistent, and just plain physical. The lead track glides right into the duo’s treatment of Busta Rhymes’s “Touch It,” originally produced by Swizz Beatz who, ironically, incorporated a snippet of Daft Punk’s “Technologic” into Rhymes’s original song. Daft Punk swings between the two here, dropping the refrain from “Oh Yeah” over the top every once in a while. But what keeps the track from being just another remix is what the duo chooses to accentuate. The song kicks off with a burst of electric guitars, which get synched to a propulsive bass blast that drives the song’s basic framework. No matter what ornamental sound bites may enter the mix, the background remains firm with that driving pulse, and Daft Punk never eases off the gas. Messrs. Bangalter and Homem-Christo are quite sneaky in the way they maintain that momentum. The fuzz-tone bass line on “Television Rules the Nation” introduces the song, kick-starting its melody, but after 15 seconds of that pulse, an even heartier bass throb explodes out of the speakers. The duo’s sunny hit “One More Time,” which could have been a 1980s house staple, arrives in all its shimmering keyboard glory and takes off on its bodyrocking kick-drum backbeat. Daft Punk folds it into “Aerodynamic,” the track that followed “One More Time” on “Discovery,” creating an ebullient moment that taps into that album’s almost nostalgic take on classic house.

The unbridled euphoria runs through every second of the album’s 73 minutes, and pushes it out of mere dance niche into pure pop pleasure. If hipster mash-up alchemists such as Greg Gillis’s Girl Talk, OCDJ, and their ilk rule dance-club basements and warehouse parties with their pan-decade and pan-genre remix approach, with “Alive 2007,” Daft Punk has paved the way for transporting that joy into the mass spectacle of arena pop. “Alive 2007” is the “Frampton Comes Alive” or “The Who Live at Leeds” of the 1990s dance music explosion — 15 years in the future. The only downside to this album is that it arrives in December, when only the few diehards will be tempted to play it with the volume pegged and the top down, which is how it should ultimately be heard. Arrive early, spring.