Evil

After two LPs and a string of shorter EPs, in October 2001 Italian prog metallers Time Machine released their third full-length album, “Evil”, a concept album based on the novel “Cherudek” by Italian writer Valerio Evangelisti. The record marks yet another revolution in the band’s line-up, with three new members appearing on “Evil” relative to the previous release: guitarist Gianluca Ferro, drummer Claudio Riotti, and singer Pino Tozzi (all coming from Italian prog metal band Arkhè). The new members join long-time members Lorenzo Dehó (bass) and Joe Taccone (guitars), as well as a small number of guest musicians, including long-term band collaborator Roberto Gramegna on keyboards and Eddy Antonini (Skylark) on piano in “Eyes of Fire”.

“Evil” is a rather accomplished release, especially when compared to those early, roughly produced Time Machine albums. The album contains ten tracks of melodic progressive / symphonic power metal, pretty much in the vein of bands like Royal Hunt, Savatage and Threshold. There are also hints of more traditional prog metal (Dream Theater) as well as neoclassical metal (Rainbow). The tracks revolve around excellent vocal melodies and big, singalong choruses that are masterfully crafted to immediately prick up the ears. The song structures are fairly simple and never stray too far from the verse/chorus repetition, plus the occasional guitar solo. The arrangements, though, are rich and multi-layered, with a good contrast between a modern, edgy guitar sound and lush symphonic keyboard arrangements. The spotlight is often on the vocal lines, which in many tracks are really excellent. Pino Tozzi has a warm, moody voice, and he cleverly stays in a comfortable mid-range that allows for maximum expressivity.

The album contains some great songs, but also a couple of duller moments that detract a bit from the overall listening experience. The powerful, uptempo “Where’s My Heaven?” is a great way to open the album, energizing and melancholic at the same time. “Eyes of Fire” is one of the album’s highlights: propelled forward by a gritty guitar riff, this song sports a very catchy chorus and a great solo spot by Eddy Antonini on piano. “Evil Lies” is the other highlight of the album. It is a rich song, containing another excellent chorus, a nice alternation between male and female vocals (provided by guest singer Melody Castellari), a Latin choir, and an awesome dissonant guitar solo by guest musician Max Lotti. The instrumental piece “Ecclesia Spiritualis” is also interesting, with its spooky ambient sections and cool atmosphere. I also like the album closer, “Hailing Souls”, which recreates the combination of power and moodiness of the opening track. “Army of the Dead” (with its strong Royal Hunt vibes) and especially “Angel of Death” are instead somewhat less interesting and are bogged down by weaker vocal melodies and excessive repetition.

Overall, “Evil” is a thoroughly enjoyable album of modern melodic progressive metal. Blessed by a very warm and organic production and some great melodic ideas, the album flows away pleasantly and with more than a few moments of brilliance. If I were to nit-pick, perhaps the biggest downside here is that on this record Time Machine have somewhat lost those peculiar sound characteristics that had made their early records stand out from the rest of the prog metal scene (complex, multi-part songwriting driven by bass riffs and arpeggios; a distinctive “Italian” melodic flair). “Evil” sounds instead much closer to the international prog metal standard of those years, which is both a good and bad thing. It is a good thing because it shows that the band has made enormous progress compared to the uncertain, slightly amateurish early recordings. But, at the same time, this also means that Time Machine have lost along the way those characteristics that had made their initial sound unique and original. Nevertheless, “Evil” is a strong album, and if melodic prog / power metal is your poison of choice, you won’t regret giving it a try.

When you are reviewing a progressive metal album anyone tend to instantly, almost unconscious to think about Dream Theater and/or Symphony X. This is not the case with the progressive band Time Machine. These guys are from Italy and are not related to symphonic power metal bands either so what do we get with 'Evil'?


The production is crystal clear and each instrument sounds perfectly including Pino Tozzi’s amazing vocal performance. The guys give room enough to show off their skills and you get kind of the same technical approach from Threshold.

After the mandatory orchestral keyboard introduction we get ‘Where is my heaven’ and this is a perfect opening. It has solid guitar riff. The usage of keyboards perfectly combined with the music creates an atmosphere of elegance, exquisite taste instead of the overuse most progressive and/or power metal bands do.


The vocals go in the vein of Khan from Kamelot in Siege Perilous: balanced, not high pitched, not James Labrie and not going out of his vocal range. They are perfect for the music. This song has it all: a keyboard intro, delicious riffing, excellent vocals, and exquisite guitar solo, keyboard interludes, opera chorus and the bass sound is a desert for the ears. The drums are absolutely delicious too. Without going to show off skills he goes alone with the music giving it texture (almost like Don Tardy from Obituary) which is exactly what this albums needs.


Ok, that was only for the first song so I’d spend a lot of time describing each song so I am going to give an overall view of the album and some highlights. Progressive bands have to fail in some points like: it is the production or bass sound, the vocals, too progressive and not metal enough or vice versa, etc. What we get with Time Machine is an outstanding mix of all these elements. ‘Army of the dead’ has keyboards use in the vein of Rhapsody by in the background. The guitar solo is again an ‘orgasmic’ pleasure and this one has also operatic choruses.


Following we have ‘Kiss Of Fire’ where the opening riffs go along with the drums. Solid as hell that it doesn’t even sound progressive metal. We get Eddy Antonini from Skylark as guest playing a piano solo which again, goes perfectly with the music and it highlights the song. The song overall is a lot more progressive in the technical and tempo changes fashion but it is very heavy. We also get an instrumental with a lot of industrial sounds surrounding to give you an idea of a factory or (due to the album’s concept) some machinery preparing the armies of hell to take over the Earth. The instrumental is bass driven and the keyboards are the second instrument to show off and the sense of melody is outstanding.


With ‘Neghentropia’ I really can buy Roy Khan is singing there. Very dark atmosphere is provided here from the guitars due to the heaviness and rhythm tasty riffing. In Evil Lies we even have a female singer sounding (to me) like Candice Night from Rainbow. ‘Angel of Death’ is pretty much like the first slow tempo song and what a way to do it. Musically this one sounds like pulled up from ‘The Dark Ride’ album.


On and on we get astonishing musicianship throughout thou they are not related to Dream Theater and/or Symphony X’ progressive metal AT ALL! This is an album that every progressive metal fan MUST have although after the first half the songs become not as interesting as the first. If you claim you like heavy metal with plenty of skills and brains then get it. If you like conceptual albums with symphonic elements go and get it. Trust me you will not get disappointed by this piece of art and in no way I am a progressive metal hardcore fan, otherwise this will be less objective so the table is served, give it a chance!