Search - Army of Lovers :: Massive Luxury Overdose

Massive Luxury Overdose
Army of Lovers
Massive Luxury Overdose
Genres: Dance & Electronic, World Music, Pop
 
  •  Track Listings (12) - Disc #1

European pressing features a total of 11 tracks. Universal. 2005.

      
   
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CD Details

All Artists: Army of Lovers
Title: Massive Luxury Overdose
Members Wishing: 0
Total Copies: 3
Label: Warner Bros / Wea
Original Release Date: 3/17/1992
Release Date: 3/17/1992
Genres: Dance & Electronic, World Music, Pop
Styles: Europe, Scandinavia, Dance Pop, Euro Pop
Number of Discs: 1
SwapaCD Credits: 1
UPC: 075992444828

Synopsis

Album Description
European pressing features a total of 11 tracks. Universal. 2005.

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CD Reviews

More Multi-themed techno-pop from Swedish Army of Lovers
Daniel J. Hamlow | Narita, Japan | 03/06/2004
(5 out of 5 stars)

"Massive Luxury Overdose goes beyond its predecessor in incorporating more joint vocals among the trio, now consisting of Alexander Bard (vocals/computers), Jean-Pierre Barda (vocals/drums), and Michelle De La Cour, simply known as De La Cour (vocals/keyboards). La Camilla was fired from the group although she has some guest vocals here. More of the choir chorus introduced in the first album is emphasized, as well as the religious, sci-fi, and scientific motifs on their bubble-techno songs."Dynasty Of Planet Chromada" is about some beings from outer space who are self-styled heroes, like those at Masada, who seeing the Earth in the throes of apocalypse, seek to restore it under their rule.The technofied, choir-vocal-oriented "Crucified" was one of the last songs I heard on the college radio station back in my NMSU days, and I spent a year or two trying to figure out who it was. Although it's Barda on vocals, the regular backing vocalists whose combined vocals make it an operatic choir add much to the religious aura of this song, whose protagonist is a very devoted acolyte to some god: "I'm crucified/crucified like my saviour/saintlike behaviour/a lifetime I prayed.""Candyman Messiah" is a moody drum machine and synth number with the main trio singing, with guest monologue by La Camilla. She has the same role in "Obsession" set to Alexander Bard's lead vocals. This number has a few airy synths permeating. A monologue by Bard sums up something I went through: "There ain't no promises/ain't no commitments/but how cruel love can be/how cruel can a broken heart like mine/there ain't no right/there ain't no wrong/but as long as hope survives/I'll stay alive.""We Stand United," with the backing choir, is a bouncy Stock-Aitken-Waterman type number, although their lust in material dreams might be a turnoff: "gold bars are a must/in money we trust." The string-synth laden "Say Goodbye To Babylon" is a hymn to a city's that's fallen under so many invasions, with references to Nebuchadnezzar, the Hanging Gardens, the mysterious signs that Daniel translated the eve of the city's fall to the Persians, and Xerxes' conquest of the city. The choir is present in the chorus.Chemistry students will get the goofy techno "The Particle Song," speaking of accelerated particles flying through cyclotrons, starring particle y and z as "macho men of the molecules," and "atoms in disguise dressed like electrons." Like "Crucified," the choir is dominant here. A very silly song and a favourite.The whispered desires of a certain Louis for power are intercut with soulful guest vocalist Annette on "I Cross The Rubicon," in this reference to how Julius Caesar made the decision to march to Rome and get his empire."Flying High" is a Stock-Aitken-Waterman-type number fit for Kylie or Rick Astley about a pilot and passengers who are flying high, but they crash and end up flying high, with angels taking them away to Eden to play.Annette has guest vocals again on "Walking With A Zombie" with a silly chorus: "I'm walking with a zombie/with seaweed in my hair/I'm walking with a zombie/through radioactive air." The mock African rapped in a monstrous whisper, that includes pinupa and bazooka, are definitely musical kitsch.When singing of "Judgment Day," the protagonist sees it as nothing more than getting revenge on someone who left him. Barda sings the chorus, followed by back-to-back monologues by De La Cour and Barda, and etc. The backing choir that sings at the end adds to the finality of that day, and they, along with more engaging songs and rhythms, make this higher than their debut."