The Space Overdrive single is really a short EP full of awesome remixes and alternate versions of this song from their second full length album, Kosmonauta.

The single edit opens the EP, and it's a short radio-friendly version of the tune. Second is the b-side "An Infinite Summer" which I didn't really like that much when I first heard the intro. But if you let it play for a while it does grow on you, and Andylab shows some nice Depeche-esque vocals here along with the beautiful female vocals by Ale-A. After that is a string of dancefloor-killer remixes that surely will strike a chord with all lovers of the futurepop genre, including the extended version of the title track.

Bad is that sort of album that doesn't need any review. Everybody knows it's quite an experience, simply because almost EVERY track on the album has become a hit single.

It is the inevitable sequel to his 1982 monster hit album "Thriller", and while it didn't outsell "Thriller" in any way, it still sold a lot.

So how is "Bad" as an album? It works pretty well actually, and has a more synth-laden sound than its predecessor. Michael throws away his disco influences for a more futuristic take on the pop genre, and I think this makes the album stand more on its own rather than seeming as a direct sequel to "Thriller". It has a few great ballads, and unforgetable hits such as "Smooth Criminal", "Bad", "The Way You Make Me Feel" and "Leave Me Alone".

"Bad" never falls on its ass, never loses its energy, and it flows greatly. In a lot of ways "Bad" is just as much pop perfection as "Thriller", but I feel at this time Michael started losing his soul and became more and more a machine (quite literally in the "Moonwalker" film he released soon after). But it's hard to say anything bad about "Bad", it's probably one of the best pop albums ever made by any artist.

Peltz can be considered a side project by Morten Abel for his more rock-infused tracks. The Coma album has its fair share of synthesizer play though, so it's a nice balance of guitars and machinery really. Morten's vocals is the main focus point often though, and we get a wide array of various styles on this album, including some more progressive space-rock in addition to the more poppy tracks. It can feel a bit monotonous at times, especially at the last track which is a quite experimental and ambient synthesizer trip, and doesn't quite fit the album, but overall Peltz' Coma is a rather enjoyable experience.

Rocket Science is what it is. Either you hate it completely, or you adore it completely, there's nothing in between. I am not going to blame anyone but I see that this album makes it really hard for reviewers to stay objective. People have really flamed this album for what it is.
While Rocket Science clearly takes another step into the alternative rock direction that started with YAMATW, there is a lot more here beyond just another indie rock album.
Rocket Science is an album to get lost in, like a deep forest with lots of various paths. Rocket Science is an album that shows you the paths, but doesn't tell you to follow them. It's an album that, if you look beyond the surface, opens a lot of new doors for you, giving you the choice if you want to go through them or not.
A lot of people judge Apoptygma by their current style but seems to forget looking at the actual message. I don't think those who can't stand Rocket Science really get what Apop is really about. It's not the music, but the message. And the message is stronger than ever on this album.
It seems like every time Apop release a new album, people initially flame it to hell, but after a time it grows on people.
What is my personal opinion? That Rocket Science is a masterpiece. The depth of the material and the amount of detail put into the album is just breath-taking. The whole album is littered with hidden meanings and symbols, as I said, paths you can follow.
If you look beyond Rocket Science's indie rock exterior, you'll find that it's a very personal album, probably Stephan's most personal album so far, it gives a whole new perspective on the world if you are open for it.
If you prefer the older Apop and need a futurepop fix, don't buy this album. If you don't mind that Apop do what they want and aren't bound by limitations or formulas, get this.
I have seen a lot of people who are quick to jump the hate-wagon and saying that Apop are becoming too mainstream. I just keep asking myself why that is such a big issue, because obviously this is a very deep and meaningful album, and very personal.

Another re-release of Apop's classic album 7. There's not any real change from the previous digital remaster, the most obvious changes being that the Carmina Burana sample has been omitted again and there's still no "Untitled One". Other than that all the songs are here. Love Never Dies Part 1 starts off the record as a sort of gothic dance anthem while Mourn takes on a rather arty approach with its strange beat, but yet catchy melody. Non-Stop Violence is still a powerful anti-war, anti-tv song and in my opinion is probably the biggest reason you should by this album. Then it kicks off with two rather arty tracks. 25 Cromwell St. is a song about the murders on the title's address most likely and is sort of a slow EBM theme. Rebel is a kind of strange weird reversed rhythm thing with a pulsing bass and samples of Moby talking about Jesus Christ. Deep Red is a violent sadistic floorfiller with hard beats and yet again a catchy melody. Nearer takes another break from the hard beats and is a surprisingly beautiful ballad where we are treated to Jonas' magnificent backing vocals, which were lacking from the more EBM-oriented Banilla Dream version from the Non-Stop Violence single. This is by far the best version of the song. Half Asleep kicks off yet again with hard hitting beats and lyrics about temptation and sin. Love Never Dies Part 2 comes as the album's biggest surprise as it is a beautiful guitar ballad basically.

The bonus tracks are probably why you should get this re-issue. The Blackmail cover of Deep Red is a kickass rocked-up version of the song and it fits very well. Untitled Too is there as well, but no Untitled One, the APB guitar remix of Mourn is a good dance-track, but the real gem on this album is the last track. The Lo-Fi version of Mourn is simply the most beautiful piece of music I've heard from Apop in a long time. It is stripped down to just a guitar, some synths and Stephan's beautiful voice. Probably my favourite track off this re-release.

With the highly successful release of Discovery, Daft Punk had really raised the expectations of what they were capable of.

Human After All sounds more like an experiment or demo than Discovery, but nonetheless it remains a very good album, despite the criticism, because of the many hidden social criticisms(such as towards TV-culture). It's arty, over-reptitive and minimalistic, and creates a sharp contrast to Discovery that I think cut the hearts of those who prefered Discovery.

Listen to this album without expectations and you won't be that disappointed. I did, and I actually loved this album when I heard it the first time. The melodies are basic and straight to the point, the lyrics are sparse and either vocoded or pitched. Human After All is not an album for everyone, so approach it with a certain caution.

It bites. Hard.

With Discovery, Daft Punk leave their acid house roots behind and delve more into 70's disco and synthpop. The result is a fresh combination of disco and house and leaves a lasting impression.

Most of the songs are based or includ3e samples from many 70's songs, even the first song "One More Time" sounds like it wouldn't be out of place in a disco during the 70's. Many guest artists do vocals work, such as Romantony and some works show a heavy rock influence as well, but with a twist. Aerodynamic contains a guitar arpeggio throughout which makes the basis of the song while Digital Love contains a very cool buzzy synth solo, close to sounding like a real guitar but there are give-aways.

Overall Discovery is a very enjoyable album with wide appeal. Sadly it raised the bar so high that Daft Punk disappointed many new fans with the release of the slightly over-repetitive and minimalistic Human After All.

Although this could easily be a standard Röyksopp song, what really gives it the edge is Karin Dreijer's haunting vocals, and thank God it isn't run through a bloody vocoder because her voice is SO strong on its own. It bruns through your spine and leaves you sitting there, with a feeling you cannot describe with words.
The lyrics are very abstract and they definitely lend themselves open to interpretation.
Truly one of Röyksopp's best tracks, and my definite favourite of the album.

Apoptygma Berzerk is indeed a band that constantly re-invents themselves. They have gone through a lot of changes through the past decade, with members joining and leaving constantly. One force remains though, Stephan Groth, and he is msotly responsible for the band's sound.

Now, before you pop in this record, I just have to say that you must leave your expectations behind. This is not like the Apop you heard in 2002 or even less the Apop you heard in 93. This is a new Apop, and if you can't accept that fact, I think you should leave this album alone.
Because while Stephan's characteristic vocals remain and his lyrics are even better than usual on this album, the sound is heavily influenced by 80's rock music(sort of like A-Ha's Scoundrel Days album), and it shows heavy use of guitars and live drums.
You And Me Against the World shows that Apop is not a band that makes "sequels", they constantly go through changes, re-inventing themselves, and I think a lot of people find it hard to follow such a change.
Myself, I have never been alienated by this album, I always find something in it that I like, mostly because he hasn't completely left the elctronics behind, you can hear synthesizer basses and leads on most of the songs, even if they sound mroe vintage and analogue than on the previous VST-sounding albums.
Pick up this album if you like good music. Leave it alone if you expect another futurepop-trip.

Harmonizer is as much of a concept album as Welcome to Earth and 7 was. But while 7 dealt with Christianity, belief and Jesus, Welcome to Earth dealt with alienation, Harmonizer deals with love and relationships, and is by far Stephan's most personal album. While Harmonizer might seem like a superficial dance-album on the surface, if you look beyond it, you will find that the songs are surprisingly abstract and deep, and that you can always find something there to relate to.
Suffer In Silence, Unicorn, Until the End of the World and Rollergirl are all very good tracks to start with. While they all have a driving beat and catchy melodies, what makes them good is the actual lyrical content. If you understand what situation Stephan was going through at the time he wrote the songs, I think you will have more understanding for them. Until the End of the World is undoubtedly inspired by Stephan's then broken relationship with his wife. Pikachu is also a song about his daughter.
The track Photoshop Sucks is actually a surprisingly deep track if you listen to it. It deals with our modern age and how reality is distorted through computers, by the use of Photoshop. In the notes for the album, Stephan is actually saying "embrace the real things in life".

Nobody should judge Harmonizer for what it seems like at the surface. Don't compare it to older or newer releases, because Apop is a project in constant change, and Stephan takes it in whatever direction he wants. Harmonizer stands alone as Stephan's elegy after the breakup with his dearest treasure, now torn away. When I listen to Harmonizer, I feel sympathy, and although many of the songs are sad, they have a very positive and happy take to them. I don't think Harmonizer could've been done in any other way, and I wouldn't want it to either.