Susan Frances
05/21/08, 10:53 AM
Monster in the Machine - Pinned Butterfly
Record Label: Emotional Syphon Recordings
Release Date: August 21, 2007
Now this is a concept album. Based on the title track of the album, Pinned Butterfly, the songs are homilies that signify the death for vanity. Released by the rock trio, Monster in the Machine, the album employs elements of cosmic atmospherics, prog rock themes emblematic of Pink Floyd, orchestral tones, nostalgic glam-rock psychedelics worthy of ELO, and acoustic and synth-textured combinations all contoured by scallops of melodic-pop. The album is a sum of many parts with a listening experience that stretches across decades of music from the ‘70s to the modern age and from alternative perceptions of rock music to traditional formats.
Produced by the band’s lead singer, lyricist, keyboardist, and guitarist Shannon Crawford, who was formerly from Virgin Records signed band Cellophane, Crawford put together a record that illustrates society’s ills and people's hopefulness that change is the key to making the world a better place to live. Crawford’s skills as a conceptual painter have no doubt been transposed to the band’s songwriting, which devises different sonic shadings and crafts sharp and buffed strokes guided by the concept being portrayed in the songs. Each song is based on an idea that furthers the main theme of the album, the death for vanity.
Making their debut on KoRn guitarist James “Munky” Shaffer’s independent label Emotional Syphon Recordings, Monster in the Machine deal with some heavy issues in their lyrical content like the sacrifice of the environment, religion’s contradictions foisted on society, and the selfishness of corporate leaders. The lyrics encourage an inner strength in one’s spirit like in the song “Don’t” when Crawford declares, “You can’t take me down … Don’t cry / Nothing they can do can take me out.” The album starts off with an opus of dragging vocals and a flatbed of recorder-pitched sequences, which open up into a sonic flourish relatable to ELO on “Fear of the Mind.” The band’s mix of nostalgic and orchestral tones with art-pop topiaries creates theatrical manifestations through “Helicopter,” which are reminiscent of Nurses. The melodic-pop blossoms fashioning “Perfect” and “Under Your Shadow” display the suave peels of drummer Josh Freese and bassist Douglas Ardito who is a former member of Cellophane and presently the bassist for Puddle of Mudd.
The coalesce of acoustic and synth-textures in “Under Your Shadow’ are draped in Crawford’s low registered timbres whose eerie projections are relatable to U2’s Bono. “One Way Trip” delivers a complementing mix of prog rock and rustling synth-pop progressions while the light funk grooves of “Savior” are wrapped in modern pop psychedelics that make this tune come alive aurally. The fluid motions of “Dot on My Soul” are paddled by soft-pop rhythmic strokes, and the orchestral shivers of “Shut the Door” performed by violinist Imani Coppola roll like teardrops across the downy melodic rock spread. The music evolves into an eclectic tangle on the outro, which reinforces the album’s art-pop course. The smooth vocals of “Dog” are tempered with a hypnotic exotic-tint, while the vocals are more mechanical on the disco/techno-coated melody “Burns Inside Me.” The final track “Don’t” is a warm blend of acoustic and electric elements that soar and descend with entrancing melodic ease. There is something so elegant and tough about this track that penetrates into the skin.
Monster in the Machine use a lot of different music ideas, but so does Queen’s hit song “Bohemian Rhapsody.” Pinned Butterfly shows a vast array of musical influences, but it also has moments when the band feels like a harbinger of a totally new music format. It’s some place where glam-rock, theatrical-pop, and ambient music come together and form a new melodic aroma.
Nurses, Of Montreal, Minor White
myspace.com/monsterinthemachine (http://www.myspace.com/monsterinthemachine)
Record Label: Emotional Syphon Recordings
Release Date: August 21, 2007
Now this is a concept album. Based on the title track of the album, Pinned Butterfly, the songs are homilies that signify the death for vanity. Released by the rock trio, Monster in the Machine, the album employs elements of cosmic atmospherics, prog rock themes emblematic of Pink Floyd, orchestral tones, nostalgic glam-rock psychedelics worthy of ELO, and acoustic and synth-textured combinations all contoured by scallops of melodic-pop. The album is a sum of many parts with a listening experience that stretches across decades of music from the ‘70s to the modern age and from alternative perceptions of rock music to traditional formats.
Produced by the band’s lead singer, lyricist, keyboardist, and guitarist Shannon Crawford, who was formerly from Virgin Records signed band Cellophane, Crawford put together a record that illustrates society’s ills and people's hopefulness that change is the key to making the world a better place to live. Crawford’s skills as a conceptual painter have no doubt been transposed to the band’s songwriting, which devises different sonic shadings and crafts sharp and buffed strokes guided by the concept being portrayed in the songs. Each song is based on an idea that furthers the main theme of the album, the death for vanity.
Making their debut on KoRn guitarist James “Munky” Shaffer’s independent label Emotional Syphon Recordings, Monster in the Machine deal with some heavy issues in their lyrical content like the sacrifice of the environment, religion’s contradictions foisted on society, and the selfishness of corporate leaders. The lyrics encourage an inner strength in one’s spirit like in the song “Don’t” when Crawford declares, “You can’t take me down … Don’t cry / Nothing they can do can take me out.” The album starts off with an opus of dragging vocals and a flatbed of recorder-pitched sequences, which open up into a sonic flourish relatable to ELO on “Fear of the Mind.” The band’s mix of nostalgic and orchestral tones with art-pop topiaries creates theatrical manifestations through “Helicopter,” which are reminiscent of Nurses. The melodic-pop blossoms fashioning “Perfect” and “Under Your Shadow” display the suave peels of drummer Josh Freese and bassist Douglas Ardito who is a former member of Cellophane and presently the bassist for Puddle of Mudd.
The coalesce of acoustic and synth-textures in “Under Your Shadow’ are draped in Crawford’s low registered timbres whose eerie projections are relatable to U2’s Bono. “One Way Trip” delivers a complementing mix of prog rock and rustling synth-pop progressions while the light funk grooves of “Savior” are wrapped in modern pop psychedelics that make this tune come alive aurally. The fluid motions of “Dot on My Soul” are paddled by soft-pop rhythmic strokes, and the orchestral shivers of “Shut the Door” performed by violinist Imani Coppola roll like teardrops across the downy melodic rock spread. The music evolves into an eclectic tangle on the outro, which reinforces the album’s art-pop course. The smooth vocals of “Dog” are tempered with a hypnotic exotic-tint, while the vocals are more mechanical on the disco/techno-coated melody “Burns Inside Me.” The final track “Don’t” is a warm blend of acoustic and electric elements that soar and descend with entrancing melodic ease. There is something so elegant and tough about this track that penetrates into the skin.
Monster in the Machine use a lot of different music ideas, but so does Queen’s hit song “Bohemian Rhapsody.” Pinned Butterfly shows a vast array of musical influences, but it also has moments when the band feels like a harbinger of a totally new music format. It’s some place where glam-rock, theatrical-pop, and ambient music come together and form a new melodic aroma.
Nurses, Of Montreal, Minor White
myspace.com/monsterinthemachine (http://www.myspace.com/monsterinthemachine)