Album Notes

Man Metropolis is a volatile mix of sensual and cinematic soundscapes, floating in an ethereal stream of occasional electronic beats between the trenches of stringed audio and strained electronic rythms aptly describing the projects's cataclysmic nature.

What sets the pace of this debut album "Leisurette" are the electro-pop bass lines that sound akin to a bizarre love triangle between Kraftwerk, 1980's Depeche Mode, and Massive Attack seen through the rose colored lenses of New Order. There are 12 tracks that slide along this magical mystery of electronic ideas yet every single track retains its autonomy preventing Leisurette from becoming a 12-track-long-song.

The history of Man Metropolis dates back to 1999 with the formation of Modezero, an early project that experimented with the sounds of the underground house and light trance movements of the time inspired by the likes of: Paul Van Dyk, BT , Sasha, and Paul Oakenfold. Most of the project's musical output was underground at heart.

In 2002, Modezero released a series of synthpop tracks including the morose "Radioless", a song about desperation and loss. It was featured by a San Diego based band as part of a compilation with other synthpop artists (what is the name called). Because of its minor success it was of importance to keep on producing similar songs thus leading to a potential death in producing synthpop which in the long three-year run, it did.

When Modezero folded in the same year, the project took a definitive break to redirect its initial focus. A renaming was in line to parallel the metamorphosis of the project. Such names that were proposed were: DEV - Down Electro Vibes, Sailing with Magellan and Devisional. However, in 2004 the title was permanently changed to Man Metropolis, and its meaning left to become literal.

In 2005, Man Metropolis came back with written ideas now in present inspired by electro-pop melodies, morning dreams, annoying billboards, loud magazines, old letters, aspiring books and loving people. The rest will write itself as its own process. It's not as important today as it used to be in the past, to become singular, that is, musically monochromatic.

Now it has become of greater importance to evolve towards an increasing eclectism to demonstrate movements towards a progressive Hegelian thesis-antithesis culminating in the kind of synthesis that in future states will make pure sense: a warmer... closer, concerto effect of musical cohesion. But for now, just for today, "Leisurette" will be uniformed to electro-pop.