The Perfect Machine

Right after the successful release of “Stream of Consciousness”, Olaf and his revamped line-up of band mates rushed into the studio to release a rather impressive follow up in “The Perfect Machine”. Where the former dealt primarily with introspection on an individual level, this album applies the same philosophical pursuits to the entire human population in a more sci-fi story. We do have the story told through the viewpoint of one central character, as was the case before, but this album’s concept is a very different take on the same basic subject matter as it’s predecessor.

Musically this album is actually a bit similar to the last one, it has a recurring theme that first appears at the beginning of the first song, and then recurs a couple times in other songs at various points. The chorus of the title track is actually quite similar to the recurring theme in the last album, which indicates that we may be dealing with a potential trilogy. The same strengths that are present amongst the individual band members is also on display on this opus.

We have a powerful collection of faster tracks on here. Of them, the title track has the most intricate set of changes, while “The Ancestors’ Blood” has a primary guitar riff that is complex enough to make John Petrucci proud. “God is Dead” features an amazing vocal performance, as well as some rather interesting textural devices at work in the keyboards. “Now that you’ve gone” has some rather amazing lead guitar work on it, although the lyrical content and sampled effects also demand attention, particularly the ending of the song.

This song lacks any brief instrumentals to counter the riff fest that goes on in the faster tracks, so it corrects this by having a slightly larger collection of ballads and some softer keyboard intros to otherwise powerful mid-tempo songs. “Land of Fear” is not really a ballad, but the intro piano leads you to believe that it’s going to be one. “1st Day of a Never-ending Day” has a set of fairly heavy sections, but is also very down-tempo. “Here in 6048” is actually the only true ballad on here, waiting for more than 3 minutes to bring in any loud guitars, and relying mostly on clean toned guitar arpeggios.

Although like it’s predecessor this album should be listened to all the way through, we have some tracks that stand out due to their rather amazingly memorable choruses. The title track is probably the most progressive and the most long-winded of the bunch, but it’s chorus is easy to sing along with. “Land of Fear” is extremely memorable, and is probably the most radio-friendly of the bunch. But the best out of the bunch is “God is Dead”, which is obviously the most driving and heavy out of the bunch, but is also another extremely catchy album that will pass the most for a power metal track.

The concept of this album is actually a bit simpler than that of “Stream of Consciousness”, thought it is presented in a more universal context. God is actually given a personal identity in this story, and speaks out his will on “God is Dead”, which is actually a declaration that his presence is dead to those who have violated the law of identity. In this case, the law of identity applies not to the mind, but to the physical universe and to all the laws of nature. And it gives a rather surprising, yet rational answer to another very relevant question, what would it be like if man were able to live forever? And the answer is, life without death is a contradiction in the nature of the two, and thus life becomes living death.

The album art bolsters its message further with the depiction of a human being that is mostly mechanical in appearance, and also possesses angel wings, possibly to imply the immortality. But the most symbolic aspect of the man on the cover is the look of complete indifference combined with the appearance of being comatose. Essentially man’s newfound immortality is a state of dreamless sleep, and the apathy depicted by the people in the album after having been altered further supports this artistic analogy.

In the end, God decides to forgive humanity for the violation of the law of identity by sending a sign to the soul-dead people, the birth of the first human baby in 4000 years. Although we don’t learn what happens beyond this, it is clear that the sterilizing effect of the alteration that was mentioned in the album has been reversed, and so too probably was the immortality. If anything, the ending of this album is a bit more hopeful and settling than that of it’s predecessor.

In conclusion, this is another solid release by a band that has seen it’s musically identity more clearly defined in the last couple years. If you wish to purchase album, I highly recommend getting the Japanese version as it contains the bonus track “The Needle Lies”, a Queensryche cover. My version does not contain it, and I’m still cursing myself over not getting it as I can’t seem to find it available for download anywhere. It’s predecessor was a bit more ambitious musically and lyrically, but the more melodic approach combined with the more sci-fi oriented concept will give it more appeal to power metal fans, in addition to Prog. Fans.