LIVING MACHINE

By all accounts [certainly hyperbole, sorry], Living Machine was Mark Stanley's fourth studio album. Something I learned in getting this review ready has to do with the basic familiarity of his surname: Mark is the first cousin once removed of famed Grateful Dead engineer and acid-hound/master acid-fabricator Owsley Stanley! Pretty wild. Mark Stanley has performed with and appeared on recordings by such groups and artists as The Muffins and Spookey Ruben. And although seemingly near-impossible for me to verify in this or prior instances, his Wikipedia article lays claim to his founding membership of Alt Metal supergroup Handsome (featuring members from Helmet, Quicksand, the Cro-Mags and Murphy's Law). The language used there and elsewhere also admittedly doesn't negate this necessarily, though the omission is... notable. Mark Stanley's output, according to my earlier listenings, is eclectic, to say the least. I first came into contact through his collaboration with Avant-garde Jazz vocalist Carla Diratz. And then the song which I subsequently became thoroughly obsessed over for a few years (even now), "Silos" off 2004's 9 Volt, is tactful, of-the-time, radio-ready Power Pop (which I do certainly love). But also the way "Silos" ends: we get a solid guitar solo from Mark, which only gets better and better, almost morphing into something out of Guitar Fusion ether; like, truly masterful. Anyhow...

Speaking of ether, our title track, "Living Machine", begins in a most indie-ominous, psychedelic-apparent kind of way. Knowing now, more assuredly, I'm astounded to know that he plays all instruments here. This is a heavier alternative number, happily in the world post-Grunge (I mean, we did get some solid and more-than-effective riffs in the late-90s and early-00s, did we not?). He utilizes a sort of fakeout following each verse, all coming to a total halt after what feels like half a guitar riff. To those who know--and I feel strongly you should--the track sounds a lot like The Posies or Jason Faulkner (for a time of Jellyfish; check The Grays if you're into this stuff). It's progressive in its overall scope and in its sonic eclecticism; but no RIO here, if it even must be said. Up next is "Mr. Lady Gray", approaching something more in line with Roots Rock Alternative (again, you know, of the time, broadly). I will say though, the markedly upbeat nature of the chorus has a very cool effect, if not cooling; we're maybe owing to the Kinks, maybe the Hollies. I definitely sense, weirdly to me, a shared sonic lineage with Beardfish (I don't feel that's pulled out of thin air on my part). "Ray" certainly follows generally in this mode and feel; very easy-breezy Pop Rock. We aren't all over the place yet, but think even Gin Blossoms here, or dare I say Third Eye Blind? Good track; nowhere near Prog.

And as we stray further away from that general mark, the start to "Misery Train" returns us to vaguely post- Grunging Americana, with slinky, chattering acoustic guitar and occasional, simple piano arpeggio. Like, this could have appeared on Alice In Chains' Unplugged performance? Maybe not quite. I don't feel Mark is particular apt at making things sound bad, like this track certainly sounds great and he's very good at what he does, but this is an immediate least favorite; its dark ethos will appeal more to others. In a sort of Elliot Smith kinda way, "Home" sort of continues in this down-and-out Rootsy vibe; some slide guitar and harmonica herein. Smith tended to make these sort of moods a bit more interesting, though. Finally out of that, erh, slump, we're back into finer form on "It's Not Really Me", calling immediately to mind early Mike Keneally, but also early Radiohead? I guess I should know more early Radiohead before claiming anything like this (more complex than anything I know from them). The vocal harmonies are quirky, odd, dissonant. So it's delicious stuff. His guitar work here is likewise mystifying, and that's not where the Mike comparisons could end. Awesome use of synth in the bridge, including a truly f*cked up electronica being summoned, all before he whips out his guitar and shows us his chops for the first time on the EP. Finally, "The Keeper" brings a different side, with light jazzy inflections and changes. So, take a dark Fusion (or even early Steely Dan?) and combine it with adventurous Alternative Pop Rock, if you can picture it.

Prog or not, by my still-ignorant estimation, a fairly good representation to Mark Stanley's sound, at least for a time, can be found here in Living Machine. Certainly was glad to give it another, perhaps more proper spin.