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Unleashing the electronic dance pop of "Electronic Ecstasy", Munich Syndrome unveils it's latest release.
Picking up where “Electro Pop” left off, “Electronic Ecstasy” kicks off with the title track hinting at what a collaboration between Giorgio Moroder and Kraftwerk might have yielded. A relentlessly tight sequenced bassline pushes the song forward about nights out clubbing around the world.
Electronic Ecstasy utilizes and pushes the vocoder further up front within classic electronic pop songs of unrequited love, loss and what come next. Analog synthesizers are front and center, along with classic beat boxes, sequencers and a full arsenal of state-of-the-art production. Unforgettable melodies, combined with vocoded harmonies placed over the insistent throb of propulsive club beats and bass drives Electronic Ecstasy to new heights.
Songs range from the Euro-pop of “2 Whom” and “Always (Alone)” to the “T-Rex meets the Cars” new-wave pop-rock of “Endings (Rock RMX)”. “Anywhere (But Here)” blends the unlikely genres of Steely Dan style jazz with New Order-esque drums and a hard electro bassline. The cerebral (but dance-floor ready) “Dream Sequence #3” flows into the dance-pop of “Celebrate”.
The album takes a darker turn after the melodic instrumental “Metro” with the Kraftwerk-esque “Dreams (or Memories?)” and then descends into the claustrophobic minimalism of “Fear. Panic. Dread.” Following is “Watching You”, a high tech cautionary tale of surveillance in an overly connected world, set to a heavy dance beat and screaming analog synth leads. “Random” follows with an effervescent electronic shuffle.
The album closes with four bonus tracks:
“Electronic Ecstasy (Extended Ecstasy Mix)”, “Always (Alone) (Full Orchestral Mix)”, “Anywhere (But Here) (Here and Now Mix)” and the atmospheric and ambient-tinged “Signals”.
Munich Syndrome is: David B. Roundsley |
