Depeche Mode - Delta Machine review

Year : 2013
Genre : Synthpop
Label : Columbia
Origin : United Kingdom
Rating : 10/10

With its freshest full length contribution, Depeche Mode remains faithful to the pristine spiritual disposition that has found resonance with a legion of individuals throughout the past 30+ years. The music on the disc is uncompromisingly Depeche Mode and -logically - unrelentingly authentic at that. The album starts out in an impertinently  cunning fashion, as the group isn't afraid to park a frightening suggestion into your nervous system, making you startled that they might have been infected by the rampant dub step antics so prevalent in recent days, but right before you would start to acknowledge the presence of the lurking suspicion with a cosmic index finger handy, - sorry - you find yourself in full blown and freshly painted Depeche Mode environments with icy/unrelenting harmonics bending the then-secondary dub step connotations to their irresistible will, and Dave Gahan, OH!, the Dave Gahan still is one golden throat of a million with God's direct approval backing it up - his voice did not lose any charisma at all during the years, if anything, it got even less restrained than it ever was. Time does not "James Hetflieds" the Gahan.

The demeanor of the disc is classic Depeche Mode in the sense that the pacing cultivates and maintains the trademark transcendental urge throughout, a musical and artistic disposition that some equate with gloom, whereas, according to my percepts, the band merely seeks to express the inevitability of existence, the mere Nietzscheian - sorry if there is no such word, Friedrich - helplessness towards it. The message, actually, is totally and completely positive. You just have to look for the logical conclusions. But some butts are just way too massive and lazy to be lifted around by will "alone". All you have to do is looking for the ultimate meaning, and there is nothing that can be taught to you that some part of you does not already know. So, in a sense, it is your responsibility if a Depeche Mode song brings you down. Then that part of you has a deficit, and the group was kind enough to point that out. Negative tendencies? Are you sure? A verbatim quote from this disc : "All I want is love". How does it differ from the psychedelic ethos? If you think Depeche Mode is gloomy, then it is almost entirely sure that you don't understand them. It is cleansing in dirt.

The music still is composed of meticulously realized science-fiction sonic stills, revealing the process in which the individual consciousness attempts to inspect its own nature and its current limitations while living through a human condition. This process necessarily is mysterious, and so should the music be. Depeche Mode always was, is, and I assume, will be the master of revealing this particular mystery, which reigns amidst the greatest ones of them all. From a new Depeche Mode full length, I wanted eloquently articulated mystery, and that is what I got. Read on to know more about the album.

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Cyberware Machine Mother

GyZ gives you the song : Cyberware Machine Mother. Listen in HD please.

Lyrics :

integer
lurking everywhere
she makes me whole
I'm in her
machine mother role
I make you more
I make you whole
because

you don't have a soul

machine mother

cyberware
make me software
new pressure to be found
got a pleasure to declare

her love

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Machine Head - Unto the Locust review

Year : 2011
Genre : Groove Metal with Metalcore allures
Label : Roadrunner Records
Origin : United States
Rating : 7.5 / 10

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Machine Head unleashes the ancient, stone-authentic groove lingo of Pantera, igniting its tremendous engines to bring you valiantly varied groove metal which though is in a relentless hurry to seek the catchy chorus in the vicinity as an extra service to the ears. Ah! What? You did not order that??

Unto the Locust shows no notable aspiration to reinvent the proper steel or the proper wheel, and the only derivation/addition you are likely to spot when you attempt to relate this album to its originator at heart Pantera, is the relentless and frequent addition of the aforementioned-, acceptable melodic choruses, supported by tasty, calm, guitar centered melodic intermessos to catch a breath or two on. The mid-tempo melodic choruses, while seemingly represent no particular interest in metalcorish suffering narrative, the look itself does not prevent the album from submitting to metalcore-panic on a healthy amount of dire occasions. Unto the Locust, though rarely if ever manages to command you on an immense melodic hook from which there is no escape, brings you the intact kind of groove-based full power variation that sells out the show no problem, and the choruses are not as long as they would be if they were twice as long as they actually are. Still here? Splendid. Read on to find out more on these briskly varied elements.


The name of the game herein, obviously enough, is the act of summoning the heft that may have the chance to stop an incoming bulldozer or two, and the thoughtful addition of re-occurring segments that radiate a more restrained musical stance, serve as efficient anchors to establish a soberly balanced field of operation amidst the sequences of intense sonic engagement.

The album has two primordial vibes it feels itself most confident with : the rumble itself it produces leaves no place to form a complaint on. It is summoned via a well researched, tight, at heart traditional sound, delivered by fat and mean guitars full of bad intent that dwell only a story above the direct depths of hell as far as their tuning. As hinted, melodic, misery-fixated mid-tempo is equally a key factor of this spin, and not the factor that me, myself and I have found themselves awesometacularly blown away by, but there is no doubt that the mid-tempo sequences are tightly realized, too. The only qualm one might give a voice to regarding this matter, is the impression that the mid-tempo-, chorus related approach of the album sounds to seek to put way too much of semi-metalcorish panic narrative into the builds, regardless how the first third of the release tells everything about the vibe that sounds worth to be told.

The Special Edition of this contribution comes with three bonus tracks on board. Let's address two of those. One of these is a nicely realized acoustic version of highlight delivery Darkness Within, while the bonus track called The Sentinel consorts groove metal with power metal on an adrenaline rush, and, if you think this will kick your ass to hell and back, you are pretty close to the truth.

Machine Head's latest is a safe bet to invest your listening time in, and, if you show propensity to find and omit the two, maybe three - and not more - tracks you think the record declares itself more muscular without, then it emerges as a groove metal affair worth revisiting.

Rating : 7.5 / 10

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Rainroom - And the Other, that was a Machine review

Year : 2011
Genre : Death / Doom hybrid
Label : Relapse
Origin : Finland
Rating : 7.5 / 10

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Finnish death / doom hybrid Rainroom represents a musical consortium in which both its key participants - death and doom - are having exquisite fun with each other. Alas, it also is an unbalanced record, as 12+ of its 43 minutes are likely to give you sequences by which you can quite safely and peacefully give the green light on saliva pouring from your corner of your mouth to the pillow. This record is "death" only in the sense that it features totally full blown, integrally presented death metal vocals : growls, hauls, guttural, you know the death deal. But, here is the catch, and the dramatic turn of events! Instead of backing the death metal vocals up with traditional death having a rampant run in the background, Rainroom hits you with the kind of doom metal that - thank God and Co.! - still did not give up the will to exist. In other words : and yet it moves, and yet it lives.

The first track of this LP, called "...yeah, many machines", is a profound and efficient example of what the plan is. These growling/hauling death metal vocals are arranged over lively doom metal music which is in its autonomous and epically gloomy hurry to reach its favorite place to suffer on, - on this track, that is - and the ensuing aural experience will likely have a truly significant, lifting and positive effect on you. Or not. It does exhibit this effect on me every time I hear it. It is just hilarious and so logical, the relentless misery of death metal anger being supported by doom metal that seems to despise this level of misery-extroversion, and now it still is ready to hear it out, like a psychoanalyst female giving a session for the rampant reaper while it has one of its favorite nervous breakdowns. Read on to find out how the session went.



Rainroom's And the Other, that was a Machine, has a tamely, but elegantly presented steampunk theme to it, and you only have two choices regarding steampunk : you have to love it, or you have to love it in a manic fashion. Which, granted, may be self-explanatory.

Truth is, that the first track of the LP sounds to be more ripe of a creation than its follow-up, called Abort Engine, which is a much more undisciplined build initially, and it is having this fixated pastime of smashing your awareness against any single wall it comes across. The effective riffing, the structure of things to be found herein though, are not strong enough to claim validation of the act of smashing you around for this long. Probably the least successful track on the LP, and its more peaceful demeanor in the climax does not sound to do all that much noticeable justice to it, either. The tender part sounds more like an alibi, a cover story, and not content you can wholeheartedly regard as relevant, not when measured to the ripeness and the integrity of the stupendous first track "...yeah, many machines".

The similar initial percepts arise with the third track, called Loew Machine, and these impressions decide to stick around for no less than five minutes. What threatens to be another mid-tempo convolution, gets assuaged by legit instrumental saving graces found to be embedded in the track's midsection to its end. That body though is about three times as big as it would still look acceptably hot with/in. Track number four, called Steam Conjecture once again draws a clear and truly vibrant picture : following a flamboyant intro section that also incorporates the goal of preparing you for the Thing that Comes, super-heavyweight doom metal indeed relentlessly arises and demands a stop from time, then addresses its supreme misery of gargantuan proportions with top notch death metal singing to flatter it. And, following a short and elegant interlude to draw your attention away, the exact focal theme comes back to claim your soul with brisker, but still heavy as the tenderness of two bisexual gorillas-type mid-tempo rhythmization. This is a clearly sorrowful song at heart, and the magic arises as result that now there are monster-instruments that unconditionally submit to the charm of the beautiful/sorrowful harmonic pattern, which reigns as the core meaning of the track. This one is the same caliber as the opening contribution, and it is just a pity that two wasteland-fillers are separating them.

Rainroom is a band you want to keep an eye on, (just make sure you have something to wipe the slime off with) and this debut shows sufficient amount of brilliance to regard the relative tedium it spends in the dark via its midsection clearly redeemable.

Rating : 7.5 / 10

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