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"Robotika"- Munich Syndrome www.munichsyndrome.com <http://www.munichsyndrome.com/> Munich Syndrome is the alter ego of David B. Roundsley, and he excels at creating music that is very sci-fi in tone, futuristic and purely electronic. This is the kind of music that you would expect to hear in a smoke filled nightclub in the film "Blade Runner". This offering is skillful, sounding like an electronic architect of sound at play in a sandbox full of the latest gear. "Robotika (Technology Seduces)" is gleefully mechanical and raw, with industrial sounds straight from the factory floor. Like much of the disc, it is very clean and well produced. There is a great mix of sounds and high production values. This reminds me a lot of Kraftwerk, as well as the stuff Karl Bartos later did with Elektric Music (especially on tracks like "Tonight”). "The Future" has a great groove, overflowing with tech-cool. The lyrics are good too, addressing the perils of change. "(I Do) The Robot" features a fa
“Emotionless. Neutral. Repetitive. These are some of the words often described when referring to electronic music and yes this holds true when it's not done right. The trick is to start with a basic theme and then build on that thought. The end results when an artist is on the proper path are delightfully limitless. Munich Syndrome surely knows how to 'get it right' with every release thus far. On Robotika, the multi-talented David Roundsley, takes his alter-ego Munich Syndrome's fourth release to an opportunistic new level with a slightly pop-ish direction, breaking new ground for his sound and a new concept for this artist. The most exciting development for me was the incorporation of more beats into this release. From beginning to end it came off as a fresh encounter, even though I have been well exposed to his other works. The futre of music, or I should say music portrayed in the future has always been of electronic nature as far back as the 60's. Munich Syndrome seems to have...”
“While previous Munich Syndrome releases have provided ideal listening for the futuristic playboy in his high-rise penthouse flat, this latest album sees US musician David Roundsley incorporating, in many places, a more powerful & solid sound that moves closer to more traditional synthpop styles. This is particularly true during the opening exchanges with ‘Robotika (Technology Seduces)’ which is one of three versions of this track to be found here & which impresses with a powerful rhythmic backing providing the backbone for the assertive melodies which soon impose themselves in no uncertain terms. These quickly prove an important part of the album’s appeal, giving a nicely cutting edge to ‘Assassins (Take The Hit Mix)’ & the slightly darker ‘Industry (Hostile Takeover Mix) as well as the action-packed ‘Tonight.’ while some bombastic brass fanfares ensure that you are certain to follow the instruction given in the title to ‘Dance Again’! The vocodered vocals, which”
“Electro Pop: The name might lead you to think that this is yet another German artist but, in fact, Munich Syndrome is the solo project of American musician David B. Roundsley. MS was born in the 80s & it's clear that this is where Roundsley's heart still belongs, his music being heavily influenced by the European synthpop/europop heroes such as Giorgio Moroder (the title makes this a prime example of an album that does exactly what it says on the cover!) &, on a more obscure note, Koto & Lazerdance with a consistently strong melodic feel that pays dividends throughout, starting with the opening 'Manifesto' which immediately impresses with its mix of vocodered voice & rhythms that resemble Kraftwerk circa Computer World (& thus the hiphop styles that that album inspired) & catchy melodies that just scream 'THIS IS REAL SYNTHPOP', something which can only ever be a cause for celebration…”
“Sensual Ambience: Whatever you might think of David Roundsley's music, you can't say that the titles are in any way misleading. Like the Electro Pop album (which the music here predates by up to 6 years), the potential listener is given a very clear indication of what they'll find here, namely slow, mellow, dreamy &, at times, quite romantic electronic music that, in places, resembles the sensuousness of Enigma but fortuntely avoids the cliched monks chants in favour of a smooth melodic approach that is much more appealing &, in the case of the excellent piano work that graces 'Quiet Atmosphere' & "Cathedral Interlude' (the titles, for the most part, also act as a description of the music!), shows Roundsley's musicianship to be of a very high standard…”