Oddball human pop meets danceable robot groundwork. They arrive at disco and do disco well (albeit weirdly and mechanically), tag-teaming the role as thing-responsible-for-retarded-transcendence 5 times over. The most retardedly transcendent track (6) is a collaboration wherein the robots back the pop for three minutes of heavenly absurdity not transcendentally pop, not transcendentally electric, just a blissful synthesis of these playfully competing elements. A division occurs at the halfway mark- they pretend to go back to competing playfully, but the bond is still audibly/philosophically there. This is important- we can still thank Moroder but it's the Maels' positivity which distinguishes it from everything that came next (Sparks being 'literate', 'camp', 'mean', 'caustic', 'acerbic') at the same time that it paved the way for everything that came next (rockists claiming synthpop to be 'anaemic', 'soulless', 'Hiterlish').
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