Saviour Machine - Legend Part I

For those not yet accustomed to the more abstract corners of progressive music, Saviour Machine plays a brand of slightly gothic, epic 'metal' with an extremely strong emphasis on atmosphere, drama, and musical tension. Lyrically, SM deals largely with theology, eschatology (study of that wonderful prospect known as the 'biblical endtimes') in particular, as the Legend albums themselves (the two that are out thus far and the third album due out supposedly at the end of next year) comprise a trilogy dealing with this often revered aspect of Christian doctrine. No, I'm not a religious individual personally, but I nonetheless find SM to have some of the deepest, most fascinating, intense and dramatic lyrics of any band...

Having said that, a good portion of the album is comprised of relatively slow, largely piano driven songs, whereas some slightly heavier, chaotic, more distortion oriented tracks show up towards the end. Without going into an overabundance of detail, I will say that this arrangement works perfectly. Thematically, in terms of both music and lyrics, the album starts out in a sad, somewhat laid back manner, introducing the many musical and lyrical themes bound to show up later - the underlying theme of Israel's fated role in the apocalypse as well as that of Gog/Magog, and of course the Antichrist himself - the build-up towards his arrival on Earth, starting from around track #13, is remarkably tense and effective. I could, in fact, wax endlessly about the lyrical prowess here and throughout Saviour Machine's discography in general, but I'll save you the pain of having to read it :)

Of course, it would not be a complete review of an SM album if I did not mention the vocals. Eric Clayton (who also provides the entire lyrics and the large bulk of the music) possesses a voice of incredibly operatic proportions - deep, intense, passionate, dynamic - creating the absolute perfect vibe for the disc. Whether he whispers several words for frightening effect, provides a spoken section or two, or (and thankfully this is what he does most) delivers a vibrant, soaring performance of yet another song, his voice breathes with sheer prowess, perfection, and most of all - distinction. The closest comparison I can envision is a more operatic David Bowie, but even then, Clayton has, by far, the upper hand. Truly one of the finest singers of today...

Much in spirit of a true concept album, there is a varied cornucopia of material here - instrumentals, short lead-ins, the obligatory epics, etc., and they all work in utmost union to create an absolute powerhouse experience with a number of truly unforgettable moments. SM transcends the oft-employed cliche of having 'fillers' or 'standouts' et al. In lieu of being a true concept album, what really matters is whether or not it works as such. And it definitely does! Whether you look at the incredibly bleak opener "Overture," or the flawless transition between the soothing notes of "Legend I:I" and the melodic, bombastic structure of "The Lamb"; or the lurid emotion of "The Woman," the prophetic musical visage of "The Night," the middle Eastern vibes of "Sword of Islam," "Gog: Kings of the North," and "Invasion of Israel," or the sheer epic, dramatic bravura of "Ten - the Empire" and album closer "Antichrist I"...when you look at these and all the rest, you will see that these seventeen songs comprise an album of sheer consistency and truly staggering emotional impact far beyond words. This is music that pulls you in with its unyielding grip, and does not let go...heart-wrenching stuff, to say the least.

Before providing my all too cliche (and given the title of the album, none too unexpected) words for the conclusion, I must unfortunately point out some...dare I even say it?...faults. Needless to say, nothing staggering, but I do find the aforementioned Middle Eastern vibe to be a bit...overbearing. "Eye of the Storm" and "Birth Pangs" play around with the musical theme some, which is fine, but hearing scorching repetition of pure Islamic instrumentation on the rather lengthy (read - overlong) "Sword of Islam" is definite overkill. Still, caveats aside, it all works out relatively well, and when you get to the doomsday siren of "Invasion of Israel," you'll know you're in for something truly special...