THE SECRET MACHINES

The term "underrated" has become a bit meaningless these days, but I'll throw it at an album like this. Not only are Secret Machines themselves underrated, as a beautifully creative band merging the post-punk revival indie rock scene with Floydian space rock and pseudo-krautrock rhythm, but this is underrated within their fanbase too. These songs are as catchy, groovy and hypnotic as the first two, and "The Walls Are Starting to Crack" may even be their best song. The use of pulsing 4/4 grooves and occasional big choruses are the real strength here, it's so refreshing to hear an indie rock group with such a grasp of rhythm-based interplay.

7.6 (6th listen)

Part of my listening diary from my facebook music blog - www.facebook.com/TheExoskeletalJunction

The rest of the album has a similar atmosphere although a bit more toned down in terms of effects. The songs are more straight forward and catchy but maintain a sound and feeling which sets them apart from most mainstream music. Apart from the outstanding I never thought to ask, the last track, The fire is waiting, will probably convince most prog fans the most. An eleven long musical journey that rolls out of speakers like dark thunder clouds approaching.

This is an album which shines in terms of its sound and atmosphere. Musical virtuosity is not the focus here. The vocals of Brandon Curtis fit the music very well. He has an extremely pleasant warm sounding voice which contrasts the rather dark sounding music. Tracks 1 to 6 all deserve 4 starts. Tracks 7 and 8 are 5 Star candidates.

For the first time I've heard of this album from Roger Taylor's (of Queen) "must hear" recommendations list, and it initially interested me a lot. So I managed to listen through this record. From the very first listen, this album had a great impression on me. Here you'll find the great mixture of nice groovy sound, smart healthy experimentation and excellent catchy tunes.

The album starts with "Alone, Jealous and Stoned" track, which was one of the singles out from this album. A lot of tension, right groove from the very start and deep lyrics ? this is what you get here and on all over the rest record. A solid opening, though not the best song from the album overall, yet one of the most expermintal tracks here: psychedelic effects at the start and slow thoughtful sound overall makes.

"All At Once (It's Not Important)", like previous track, starts with slow effects, but fastly rolls into more mainstream-ish track. A neat track which was released on a single as well.

"Lightning Blue Eyes" is even more uptempo track which provides some catchy chorus tune. It was the first single from this album, and probably this is the most effective track here in terms of pop.

The fourth track, "Daddy In The Doldrums" is terrific work. Probably the best track here. It lasts more than 8 minutes and makes some great atmosphere with slow-yet-violent sound. It's better to hear it once than to read about it for ten times.

Second half of albums opens with "I Hate Pretending", another high-class pop song with remarkable melody and pretty original rhythm section.

Some solid bass work in "Faded Lines", beautiful slow melody in "I Want to Know", and, finally, the final track, "1,000 Seconds". Probably the most Floyd-ish track here. Great closer.

This album is highly recommended to fans of such a bands like Porcupine Tree, Mew, Blackfield, The Flaming Lips, Radiohead, though I believe that any rock fan would enjoy it, because it's just an excellent music work, regardless of any genre labels.

Fascinating experience throughout. Excellent addition to any progressive rock music collection. 8/10

If you know this American band called the Secret Machines I am almost sure that you are familiar with "First Wave Intact" which is the introductory song off their debut album. This was actually the first song I ever listened from them and caught my attention.

It's almost ten minutes of psychedelic and spacey repetitions, if you can get into the first two minutes then you will enjoy the song because it either can be addictive or boring. The vocals are good the drums always the same but the synthesizer effects are awesome, while the song is playing you will be transported to another galaxy, the spacey sounds are very cool. The guitar is very nice and well played, nothing outstanding though.

Not so much to say about this single, I like this song, for that I believe this deserves at least two stars, but I would recommend you listening this on youtube or another site before purchasing the single. Two stars, just for fans.

Enjoy it!

Secret Machines is the eponymous 3rd album by the New York via Texas three-piece. It is full of something the first two albums seemed to be lacking in - confidence. I wondered if the departure of Ben Curtis, the band's lead guitarist and brother of Brandon - the singer and bass specialist - would have a detrimental effect on the band's style. I conceded very quickly that the band is better off without him: it was like Brandon was being held back by his brother's presence.

Secret Machines appears to be the most easily accessible album by the band so far; there are at least three tracks that stands out as potential singles (!) and there's a carefree ambivalence about middle eights and choruses and most tracks. This album is also heavy on influences; you can detect Bowie, Pink Floyd, Rush, Zep and you detect that Curtis and Brandon Mason (the producer) are adding a lot of modern influences into the production, shades of Charlatans, Flaming Lips and Bloc Party surface in places, but don't ever seem out of place.

The album opens with the obvious pop song - Atomic Heels. A song which lyrically could have been written by Neil Peart and musically played by Bowie produced by Visconti circa 1979. It's a rousing anthemic single, which had it got any radio play in this country (the UK) might have made some impression. Last Believer, Drop Dead is an interesting take on religion, with Brandon suggesting that religious faith is dying and one day there will be no more believers. It's almost a jolly song and its tempo belies the hidden depths of the words. Have I Run Out balances subtlety with aggression. Underneath the Concrete could almost be the weakest track on the album if it wasn't so damned catchy. Now You're Gone is an excellent love song, beautifully layered and expressive. The Walls are Starting to Crack is, in my humble opinion, the toughest and most inaccessible track on the album and quite possibly the most obviously prog. It starts off innocently enough but by the 4th minute its avant garde before entering into a Dark Side of the Moon crescendo that saves the song from being a mishmash of styles bolted together. I Never Thought to Ask is a real stand out song, despite it being the slowest on the album. It is hauntingly atmospheric and has some effects in it that will make the hairs on the back of your neck stand up. Plus it has some of the most beguiling lyrics you will ever hear - filthy hammers crashing down anyone? The Fire Is Waiting continues a trend started by Nowhere Again from the début album, a monstrous track, sprawling some 10 minutes, with a crashing opening, thunderous guitars, booming keyboards and a rousing chorus - as progressive a track as you will hear all year.

The Secret Machines class themselves as Progressive Big Beat, a term I've never heard outside of their own MySpace page. They do indeed have a massive beat and lovers of quality prog, layered sounds, good tempo and weird lyrics will be impressed by this band's output. Rick Wakeman once commented that these guys could be the future of prog rock; he might be right.

I enjoy every track on this album, except for Nowhere Again, probobly because i've heard it so many times. The opening track, First Wave Intact, is shockingly powerful. The drumbeat is timeless and when the vocals start you know you're in for an excellent treat.

Sad and Lonely reminds me of some ballads from the 70's, definately in a good way, i love this track!!

The Leaves Are Gone is a trippy keyboard buzz with some excellent headphone effects

Nowhere Again, to me, is a boring song with little to offer, but their musicianship is acceptable, thats what makes the Secret Machine so listenable, their music is well constructed and their songs are written with care and thought.

The Road Leads Where Its At is another one of my favorites, the passionate vocals are haunting and it seems to go by in seconds.

Pharaoh's Daughter is another great track, its a bit slower than some of the other songs, but it builds into a piece of bliss straight from sonic/electronic heaven.

You Are Chains is another track that builds up slowly (and builds on you with repeated listens.)

Lights on and Now Here is Nowhere are two great tracks that pick up the pace and supply the ears with smooth guitar playing, emotional lyrics, and effects to boot!!

Pleasantly surprsing, Now Here is Nowhere is an excellent album that opens the curtains to a band with a big future.

(and Ten Silver Drops knocks the Secret Machines out of the park, its an amazing sophomore album)

I cannot bear with the music which lacks melody, cumbersome repetition of chords, mundane vocal job. Overall, nothing is so special about this album. I do not recommend any of you purchase this CD.

Now, with that all being said, I can explain the reason behind that. Only 2 of the 6 songs on this EP were actually written by the Secret Machines, and those are the heavy- hitting "The Road Leads Where It's Led" and "Better Bring Your Friends". In my opinion, these are the two best songs off of this release. The album mellows out a little more for the band's cover of Van Morrison's "Astral Weeks" and then comes almost to a grinding halt for their long and drawn-out cover of the mo-town classic, "Money (That's What I Want)". A song that was originally recorded in 2:30 being strung out to over 7 minutes using the same exact choruses can get a bit tiring, especially if some of the space is just random noise. The Bob Dylan penned track, "Girl From The North Country", is an excellent ballad which actually holds the listener's attention for the whole of the 9 minute duration. The closer, "(De Luxe) Immer Wieder", is more of a drum and bass chant than an actual song, but the keys come in at around 3:30 making this quite an enjoyable listen.

In plain honesty, this EP does get a little boring and stretchy at times, and I feel that the cover songs are not a good way to present yourself as an evolving band, especially on your third release. I would give this release 4 stars, but I have to knock one off for lack of originality.

3 stars, but I would still make an effort to hunt this down if you are a fan of the band.

Oh well, as long as they're here, might as well review them, right?

This one's pretty difficult to find. It's an early EP. I snagged it off eBay years ago after hearing It's a Bad Wind that Don't Blow Somebody Some Good on some website. I fell in love with the exotic sound (this was before I discovered the joys of prog).

Indeed, this is the disc of their's that I'd feel most comfortable referring to as prog. The first track, Marconi's Radio pt. 1, builds up slowly to an intoxicatingly melancholic lyrical section. Much of this disc is like that; slow build to an intoxicating center. The last track, the reprise of the first, is an exception. It's a furiously up-tempo song that ends the mostly down-beat EP on a positive note. Breathe, too, is more up-tempo than the other tracks. It's a fun little rock song.

You can definitely hear their influences, though; some early Flaming Lips, a little Radiohead, and definitely some Floyd. I hear Floyd especially in It's a Bad Wind that Don't Blow Somebody Some Good. That song reminds me a little of One of these Days. I definitely hear Oh My Gawd!! era Flaming Lips in Breathe. But while you can squarely place the influences, Secret Machines don't resort to being carbon cut-outs. They stay fresh while tipping a hat to their predecessors.

The interesting thing about September 000 is that TSM completely abandoned this style after the release of this EP. Their later releases are more cacophonous alt rock albums with a slight hint of glam.

I'll tell you honestly, this is my favorite disc from The Secret Machines and I do wish they'd resort back to this style. It's simple, but with good instrumentation and awesome vocals from Brandon Curtis.

If it weren't for this EP, I might not have ever gotten into prog. It was sorta gateway music for me. I just happened to stumble on it at the perfect time in my life when I wanted something that mainstream music just couldn't offer. This is a superbly entertaining album and one that I've yet to grow tired of over the years. If you can find this, I'd strongly urge you to track it down.

Let's just say the moment 1000 Seconds was over I was on the phone with work making up some BS to free up my Saturday night to see these guys. The album is amazing from beginning to end, and from what I've heard they are even more incredible live. I'll find out for myself on Saturday!