Analysis.
The logical continuation of the band's debut mini-CD, this full-length album affirms Mechanical Poet's status as being one of the most serious and, creatively, most significant Prog-Metal acts to come out from Russia, along with Azazello. Here are even more subtle nuances in the arrangement, more unexpected timbre changes in the vocals, more polymorphous patterns and more emotional saturation. The sound - dense and volumetric - is also an improvement. The overall musical atmosphere arouses distant associations with Psychotic Waltz's monumental, imperishable masterwork "A Social Grace" (1990). The raw, aggressive Techno Metal (Stormchild), elegantly melodious Art-Rock-inflected ballads (Shades On A Casement), experiments with off-center music forms (Swamp-Stamp Polka) and lush symphonic Prog-Metal (most of the other tracks) are equally within this Moscow band's grasp. All the guys are very skilled musicians. Although Max Samosvat didn't contribute to the album's compositional or lyrical spheres either, his vocals are worthy of a particular commendation. Possessing a nimble, flexible voice, from the low notes of a nearly operatic baritone he with ease soars up to the heights of an effervescent falsetto, and from the rough Rock overtones fluidly turns to warm lyrical intonations. I have no doubts about the album's overall status; it's a masterpiece. My only complaint concerns the song Strayed Moppet, which is rather ordinary melodically. The band should have more diversified its thematic development by including the larger number of different melodies there. Well, it's not a fatal flaw, and the general impression the album made on me didn't suffer for much because of that.
Conclusion.
There is plenty here to pique the interest of the tried symphonic Prog-Metal adherents and newly initiated as well. Fans of the early (classic!) period of creation of Psychotic Waltz and Pain Of Salvation might be in ecstasy over Mechanical Poet.
>VM: March 26 & 27, 2005