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September 3, 2010 |
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01. Falling
02. Dream & Religion
03. Apathy
04. Back For The Days
05. The Traitor
06. October
07. Daytime Theatre
08. Doors Of Resurrection
09. From Sunrise To Sunset
10. Freak
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Finland's MACHINE MEN started up as a cover band essentially playing IRON MAIDEN songs during live performances at local clubs. It's hard to imagine by a quick look at the members and their Gothic image that their music would turn out to be a very traditional and powerful brand of Heavy Metal. Their first self-titled EP was released in 2002 on the Finish label Dynamic Arts featuring 5 songs, which included a cover of their aforementioned influence, the classic "Aces High", on which frontman Antony Parviainen sounds exactly like a young Bruce Dickinson. On their first full-length album, "Scars & Wounds", the MAIDEN inspiration didn't really fade away however we could also then notice a growing resemblance to another act also compared to MAIDEN in their early moments, QUEENSRŸCHE.
MACHINE MEN's newest album, "Elegies", was recorded by Nino Laurene (THUNDERSTONE, OMNIUM GATHERUM, KIUAS) at Sonic Pump Studio and mastered by Mika Jussila (CHILDREN OF BODOM, SONATA ARCTICA, NIGHTWISH) at Finnvox Studios. As the opening track "Falling" kicks in, it seems like the band's sound has grown edgier and definitely more aggressive with vocals that sound warmer and more mature than on the first two releases, particularly with the second track, "Dream & Religion", which is so far the nastiest piece ever recorded by MACHINE MEN. The mid-tempo "Apathy", more Progressive than its two predecessors, is superb and full of emotion. The intro of "Back From The Days" reminds the listener that the MAIDEN influences haven't gone anywhere. Nevertheless, as the song progresses, it drifts back to an impression felt on the first three tracks. "Traitor" maintains the high level of musicianship and melodies displayed on the album without any effort whatsoever.
You also come to realize that the use of keyboards on this album is almost non-existent, therefore leaving more room for the guitars. The melody on the ballad "October" is magical with very impressive work on the vocals and a superb guitar solo at the very end.
"Daytime Theatre" takes us back to the early material of MACHINE MEN and could easily be considered as the follow up to "Man In Chains" (released on "Scars & Wounds"). "Doors Of Resurrection" is very old school in an NWOBHM kind of way. As the intro of "From Sunrise To Sunset" kicks off we can appreciate the cello work by Max Lilja (formerly of APOCALYPTICA and now HEVEIN). Despite its slow tempo, it is too heavy to be considered a ballad. The cover of Bruce Dickinson's "Freak" is the closer; it gets you used to the idea that it is definitely hard to differentiate one singer from the other.
When they released their first two albums, MACHINE MEN obviously had decided to choose a different path from the one established by other Finnish Power Metal acts such as STRATOVARIUS, SONATA ARCTICA or TWILIGHTNING by going old school. This time around, MACHINE MEN have made one more point proving that with maturity they can also distance themselves from their major influences in the beginning, therefore raising the odds for an increase of their fan base. This album is what Heavy Metal is all about.
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