The God Machine - Steel Prophet
- Steel Prophet
- Release date:
- April 26, 2019
- Gordeon music
Neither the day of judgment, or the kingdom of heaven
"The Good Machine" puts itself right in between; the highlights are gripping the classically inspired powermetal with power and hooks, superbly delivered by the group's new lead singer. For the group's fans, I can therefore report that Liapakis can his stuff and only hit a touch over on the ballads, and it is still there, you go out for beer. On the minus side, count a few songs, which quickly loses the listener's interest, and some guitar-leads, certainly not all, which is strangely low in the mix. Steel Prophet their stuff, but The Good Machine shows only the group from their best side half of the time.
American Steel Prophet deadlines a thankless existence. Since the formation in 1983 they have seen the huge waves of the first thrash and since death metal to enclose their land, without ever having experienced anything near the same attention on their own favorite powermetal. "The Good Machine" is the group's ninth album in the genre, which is appropriate for the new lead singer Liapakis (Mystic Prophecy) is also the number nine in the series. Let us turn for Gudsmaskinen and find out which metallic prophecies we must give ear to this time.
Steel Prophet packages no entry in the vat; instead, opens hard and fast with the genuine powerthrash-riffing on the title track. Steel Prophet is clearly here to spread the good message of classic heavy metal riffs at high tempo and hookfyldte, soaring choruses and raw refræner. Newcomers Liapakis puts appropriate in with a howl and take direct hold of the first verse. His vocals are clearly inspired by Bruce Almighty, but he has a more raucous and rough sound, which for the most part fit the music well.
Some of the songs struggle to create dynamics. "Crucify" and "Thrashed Relentlessly" trust a little too much on the riffets force and stores the tone and temposkiftene to the less inspired c-pieces. Compare with the Dio-inspired "Damnation Calling", which has both sounds is, change of pace and an excellent riff, which Liapakis singing in a choir and helped the old tune out over – all along before the song is halfway finished. The problem with not using variationsskabende elements is that the songs quickly fall in the background all the time, one does not introduce something that sounds different, and that is exactly what happens to some of the songs here. Several attempts made to use the lead guitar to hooke the listener, which at times fall to the ground ("Fight, Kill"), because the lead guitar sometimes falls to the bottom of the mix.
I mentioned that Liapakis' vocals for the most part fit the music well. On the more emotive tracks "Between Love and Hate" and – especially – the verse of the power ballad "Buried and Broken" will be exhibited in turn, a Ripper-like tendency to oversynge; a lack of Fingerspitzgefühl, as if the "Fear of the Dark" was been released on the No Prayer for the Dying. The verse "yes baby, I know it wa-aas, you have the cuts in the ear of this cause, and I note that Liapakis makes the best in the choruses, where he can let the diaphragm get free run. The album's highlights, "Damnation Calling", "Soulhunter" and the finisher "Life = Love = Good Machine" shows that Liapakis is the right choice to sing hookfyldt powermetal with force.
>> Check the songs and lyrics here