Robotique Majestique

Robotique Majestique is compelling and eminently danceable, and it has as much visceral kick as cerebral appeal for the indie dance kids who demand both.

Old electro sounds and disco-era strings might hint at camp, but not for long; Ghostland Observatory hits too hard.

The album's got its share of throwaways, but it's definately an artifact of a band reaching their peak. [Apr 2008, p.160]

Considering how DIY they are, it’s suiting that 'HFM' lets some raucous punk influence shine through their usually firm plastic façade. That combined with the nasty bassline to 'No Place For Me' makes this their most enjoyable album yet.

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. Meat."

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.

Despite the missteps, well over half of Robotique Majestique is terrifically entertaining; it just seems like the hit-to-miss ratio could have been so much higher without much more effort.

Robotique Majestique, the latest from Austin electro-rock weirdo outfit Ghostland Observatory, is a good EP trapped inside a mediocre album.

The magnetic pulse holds everything together until Ghostland Observatory try to mess with the formula.

In those rare moments when they're truely wired, Texas' odd couple bring quirky soul to the music of machines. {mar 2008, p.102]

Singer Aaron Beherns is gifted with the evocative falsetto wail of Freddie Mercury, but wastes it unnecessarily here with hurried urgency, producing words as quick as he can instead of savoring each and every note. [Winter 2008, p.92]

Gone is the lo-fi, sometimes dirty feel. In its place are over-produced tracks that lack any feeling of emotion.