Bio- The product of a chance meeting between Sam Chase and Benjamin Corey in late 2005, Perfect Machines was incarnated as the collaborative effort of two guitarists/song writers. Shortly after it's inception, it became painfully clear that the project was not going to fully run it's course in a living room on acoustic guitars and Adam Goosef and Lance Lee joined the band in April 2006 to fill out the low end, playing drums and bass respectively. A session at the Compound in the Santa Cruz mountains (owned and operated by Joe Clements of Lorelei records) in December of 2006 left Perfect Machines with a four-song demo E.P. entitled 'When They Were and Still Are....' A year later, the band returned to the Compound to record it's this full length, which is to be released on F-Labels early January. Fans have praised the energy and enthusiasm of the live show produced by dueling and overlapping vocals on top of the driving drums, bass and guitars. Comparisons have been widespread, but most often listeners cite the stylistic similarities of Perfect Machines to major acts such as Rise Against, Thrice, and Hot Water Music; understandably, considering these bands represent a prominent few of the bands diverse influences. The new album is on it's way, Lance has left the band, and a new bassist is being built to specification (kids, say hello to Johnny), and plans for global conquest are in the works (alright... maybe if I put all my armies in Australia...). --------------------------------------------------------- Review- 'Perfect Machines release much anticipated first album Rock band Perfect Machines will debut their self-titled album, 'Perfect Machines' on January 10th 2008 at the Minna Gallery in San Francicso. Led by guitarist and vocalist Sam Chase, Perfect Machines combines the rift-driven angst of traditional punk with the multi-layered rhythms of modern metal. The band also includes Benjamin Corey on vocals and guitar, Johnny Evil on bass, and Adam Gooseff on drums. From their first track, 'Martyr,' to their eighth and final song, 'All your childhood pets are dead,' Perfect Machines creates a relentless sound of throaty vocals, alternating guitar, and aggressive drumming. At no point during the album is the listener handed a shameless, ballad styled reprieve until the next marketable 'hit' comes along. Each song is full of emotional turmoil that provocatively thrashes about, as if in a perpetual search for a semblance of meaningful musical narrative. Take for example, the following lyrics from 'In the name of Progress': 'What did you expect from this room full of angry people, a sympathetic shoulder, and the creation of egalitarian worlds?' Chase shouts and screams a myriad of frustrations about the confines of modern living to the obvious, historical failures of past visionaries as illustrated in '1401': 'There's no blockade to stop the stars from seeing us for what we are: Just a million selfish thoughts, and nightmares we could not forget.' Thought provoking lyrics aside, the musicianship of the band is equally impressive. 'Two shits to the future' begins with a Led Zeppelin-oriented guitar intro and segues effortlessly into a fast paced Metallica-inspired refrain that leads to soaring call and response vocals. In contrast, and as a testament to the stylistic range of Perfect Machines, the album's fifth track, 'Pocahontas,' is a playful throwback to the era of ska-punk momentarily popularized during the mid 1990s. Perfect Machines' first album is an unabashed and defiant mixture of punk, ska, rock, and metal against searing, confrontational lyrics. Clearly, the boundaries of punk rock are pushed to it's limits, and no doubt, so long as Perfect Machines participate in it's movement, the genre has plenty of room to maneuver. ' Kristian Markus.
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