What would an android listen to?
Munich Syndrome was born in a Non-Stop Erotic Cabaret on a Blue Monday, in the midst of the electronic New Wave of the 80's. Intrigued, and ultimately inspired by this new music, the next step was to transcend listening and create. First came a drum machine and an early analog synthesizer. Kinetic rhythms and electronic sounds gave way to layered synths and a four-track recorder.
Stark mechanical soundscapes evolved into fuller compositions: electronic pop songs. The limitations of playing live and overdubbing onto the four-track led to first and second generation sequencing programs. These programs also had their limitations. Then there were the vocals. At this point things weren't coming together, and the project was deactivated.
Fast forward to the late 90's. Electronic music was suddenly everywhere. A new generation of computing had brought a newer and more robust generation of sequencing and recording options. Munich Syndrome was reactivated. With a new arsenal of synths and a broader palette of sounds available, also came vocoders. With vocoded melodies added, Munich Syndrome had found its voice.
Sensal Ambience (2006)
The first experiments to leave the studio were journeys into Downtempo and Trip-Hop with Ambient and Jazz-tinged overtones. These made up the debut album, "Sensual Ambience." As those sessions wrapped up, the next songs started to evolve towards a more electronic sound and introduced the more prominent use of vocoders. The "Electro EP" led in the direction of the second album, "Electro Pop.”
Electro Pop (2008)
"Electro Pop" is the sound of Munich Syndrome today (House driven Electro Pop for the mind to get lost in and the body to move to). The album embraces a harder sound overall, incorporating elements of Electro, IDM, Dance, Techno, House and EBM. Key tracks are "Dance (Ah Eee Ya Ya Ya Ya)", "Love & Dancing", "Come Out and Play" and "Go Away." Munich Syndrome delivers a diverse but cohesive album of pure electronic pop!
Electronic Ecstasy (2010)
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 the classic electronic pop songs of unrequited love, loss and what come next. Analog synthesizers are pushed further 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 Roundsley