Robotique Majestique

Album Review of Robotique Majestique by Ghostland Observatory.

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Robotique Majestique

Ghostland Observatory

Robotique Majestique by Ghostland Observatory

Release Date: Mar 4, 2008
Record label: Trashy Moped
Genre(s): Indie, Rock, Electronic

70 Music Critic Score
How the Music Critic Score works

Robotique Majestique - Fairly Good, Based on 4 Critics

Prefix Magazine - 70
Based on rating 7.0/10

Mastered by Nilesh Patel (Daft Punk, Depeche Mode), Robotique Majestique has the Austin-based Ghostland Observatory throwing down a solid, synth-heavy version of their stateside electro-punk, making their third release less guitar influenced than the occasional rock moments of Paparazzi Lightning (the duo's 2006 debut) and 2007's Delete. Delete. I. Eat.

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The New York Times
Their review was positive

Destroyer With his fey voice and acoustic guitar, the songwriter Dan Bejar, who records as Destroyer when he’s not with the New Pornographers or his other projects, might have been perfectly suited for a career in pretty soft rock, mid-1970s style. The beginning of Destroyer’s eighth album, .

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Austin Chronicle
Their review was generally favourable

Since GLO's breakthrough at the 2006 Austin City Limits Music Festival, the local duo has struggled to top its electroclash charades. Their solution? Lasers. On Ghostland's third self-produced LP, Robotique Majestique, mastered at the Exchange in London by Nilesh Patel (Daft Punk, Justice), that strategy largely translates into massive, Technicolor electronic interludes delving deep into Depeche Mode.

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Their review was only somewhat favourable

Three albums into their career, Austin's Ghostland Observatory still have to take more than their share of comparisons to Daft Punk -- so much so that from the title on down, Robotique Majestique pretty much drops the pretense that the French duo isn't a direct influence. Singer Aaron Behrens' guitar, previously Ghostland Observatory's most musically unique element, is notable in its absence, leaving multi-instrumentalist producer Thomas Turner's undeniably Daft Punk-influenced synths and beats the only counterpoint to Behrens' squalling vocals. On songs like "No Place for Me" and "Dancing on My Grave," what results is a peculiar mashup of electronic dance-funk tunes and '80s hair metal vocals, a strange but unexpectedly compelling blend of two retro fashion statements that one would never expect to work as well together as they do.

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