Artension - Machine

1. MACHINE (5.24)
The album opens with a delicate keyboard pattern with simple drums and bass before exploding into a great groove courtesy of Roger Staffelbach. This then changes direction and simplifies a little creating a bed for John West to throw his melodic lungs over the track. John West I described in my 'Forces Of Nature' review as a mix of Ian Gillan, Dio and a smoother Graham Bonnet, this time round I hear quite a bit of Glenn Hughes particularly in his breathing vocal technique - just so you know John West is an awesome talent. The solo is stop / start going through various timbres while Vitalij gives us a lesson in how keyboards should be played, a good solid opener.

2. THE WAY (5.54)
John West starts the track with a vocal choir part [not as elaborate as Symphony X for the record] before the keyboards come in with a neo-classical pattern that creates a solid backdrop for the band to get going on a power groove. The pre-chorus has a hugely majestic chord progressions that pales insignificance to the great simple chorus that will just a simple refrain of 'Give me the answers, show me the way'. The unusual aspect to Artension's sound is that fact that the keyboard is the primary instrument, with the guitar used as more of backing tool. Don't let that put you off as their is still a lot of awful lot of fine fretwork, just listen to Rogers smoking solo here, it just that this band was based around Vitalij who's keyboard work is as good as any guitarist and he's gonna let you know it.

3. MADNESS CALLING (5.00)
'Madness Calling' starts out with Piano and distorted guitar giving a Savatage type feel before the pace picks up for a Symphony X type workout. The track overall has a strong neo-classical quality and this is an area in which Artension excel. The piano pattern powers the track on with some aplomb before Roger throws in a Yngwie inspired solo - great stuff. Some great chord changes and time based progressions take the track to new pastures before another scorching solo from Vitalij - I have said it before but he really is the Yngwie of the keyboard realm. Another verse and chorus rounds off this impressive track.

4. MOTHER EARTH (5.16)
A quite brilliant power ballad, here John shows the full versatility of his voice from quiet and insecure to bombastic and full of depth. The verse is simply Vitalij and John before the pre chorus which shows John amazing power, and the chorus which is quite beautiful. One of the reasons Artension are so good is their attention to detail, not once do you feel something is lacking, which is not to say the tracks are overloaded, they seem to have the perfect balance of depth and space. The brief solo's here are among the best on the album - very classical and full of melody and finesse. Overall one of the best tracks on the album and a good example of Artension at their best.

5. WINGS OF WAR (5.07)
The track starts out with almost death metal aggression before hitting more traditional progressive speed elements. The chorus sees John sounding very similar to Maiden's Bruce Dickinson as well as reminding me of 'Aces High' with its swooping melody line that throws visions of WWII air battles into your brain! The solo sees pure shredding from Roger and fleeting finger work from Vitalij. Their is also some good unison stuff that sees odd time signatures and counterpoints used to good effect.

6. EVOLUTION IN REVERSE (4.53)
A great title that unfortunately is not backed up fully by the track. While still a good track it seems to lack a little of the magic of its predecessors, the problem is mainly the vocal melody over the verse and chorus, as the track sounds good in the instrumental sections. The rhythm's are in odd time meters so perhaps this was a case of John trying to get a vocal part over a track that would be better suited in an instrumental guise.

7. TIME GOES SLOWLY BY (6.10)
A bit of an epic, setting out with dark piano and guitar chords then traveling into a lighter verse that is quite pictorial, you get the impression of stark landscapes on a unknown planet. John sounds absolutely superb here completely erasing the memory of his efforts on the previous track. The piano and distorted guitar sound perfectly suited throughout and illustrates how well Roger and Vitalij are in synch with each other. The guitar solo is phenomenal taking the best bits of Mike Romeo, Yngwie and Joe Satriani then throwing them into an alchemists pot with the outcome being something else. Vitalij throws in another melodic solo that is suited to Rogers previous effort. A great track that is another highlight.

8. THE LOSER NEVER WINS (4.55)
A great track that travels through various territories such as Deep Purple, Yes, Rush and even a little Van Halen in the quirkiness nature of the riff at one point. John sounds huge here on the verses and it's one of his best performances on the record 'Don't you know the loser never wins'. The track changes key for the solo and Roger sounds a lot like Steve Vai here. Quite a funky progressive breakdown after the solo before the verse where Vitalij keyboards sound reminiscent of Jon Lord on Deep Purple's 'Perfect Strangers'. Another quality track.

9. I SEE THROUGH YOUR EYES (6.20)
The track starts out a bit more straightforward than the others [classic metal] and John's voice takes on another slant here, a vibrant cross of Joey Tempest, Goran Edman and Graham Bonnet. The track keeps the more simplistic vibe up to the solo section that again sees many time and key changes, it's also the longest solo from Roger on the album. The track then takes a symphonic rock route that is pretty darn impressive, it then changes to a more Dream Theater-ish direction before landing in the neo-classical field with sweeping arpeggios and classical piano lines - quite a shift!! The track then heads back to the more straightforward slant showed earlier in the piece. Here it is worth noting that these changes sounds so smooth and natural that it becomes clear that this isn't one of those tracks that is to illustrate the virtuoso talents on offer - although it does that in the process it does not sound contrived, the final track and another highlight.