Top Secret Machinery

The Secret Machines
Self- titled (TSM Recordings)
10/14/08
*****
“Now you’re gone, it’s too late / the world is starting to spin”. The nostalgic lexis of Brandon Curtis’ haunting lyrical prowess in “Now You’re Gone” divulge into layers of abstract romanticism and explore the fervor often associated with time-stopping encounters. The Secret Machines have come full circle, boasting a self-titled release on their own DIY label (TSM Recordings) with new and heavily experimental lead-guitarist, Phil Karnats in tow. Guitar gap filled, the band deemed an album title unnecessary. Even sans other-brother Curtis, they’re still The Secret Machines. Benjamin Curtis left the band in early 2007 to focus on his project School of Seven Bells.

Their third album to date, the New York based trilogy seems complete -- sounding more brooding than ever. The band’s new 3rd element probes into otherworldly licks that saturate atmosphere and generate a seemingly flawless transition for the band. “He’s kind of a dark guy,” Curtis revealed about his long-time friend Karnats on a dismal and rainy Manhattan afternoon. “But that was always the direction we were headed.” Curtis may feel akin to gloomy weather but his music is intent on taking an uplifting and positive tone. “The world is in a dark place right now,” Curtis said, “so what we want is to make people more aware of it, without being cynical.”

These days, it’s hard not to be political. The space rock single, “Atomic Heels”, is fueled by electro avant-garde psychedelia and already has a video in the works. Not since David Bowie’s “Space Oddity”, have we heard the likes of “I Never Thought to Ask” transcend from sub Area 51-type counterculture to mainstream. “Last Believer, Drop Dead” launches Faust arpeggios reminiscent of the Machines debut, Now Here is Nowhere, and fuses early ‘70s West German experimental rock. “The Walls are Starting to Crack” progresses into a vast Floydian finish parallel to The Wall itself.

“The Fire is Waiting” is characteristic of TSM’s lengthy instrumental breakdowns. Running just over eleven minutes long, its hard not to succumb to renaissance drummer Josh Garza’s dance with the devil. Play the record loud and much like the band’s early Texan heydays, you’re ears will ring for hours -- but your heart will be OK. In other words, synchronize the aftershock of a My Bloody Valentine show with futuristic noise rock, and call it a close encounter of the new third kind. Houston, do you copy? Over and out.