Saviour Machine was a Christian Gothic/Symphonic Metal group that formed around the summer of 1989 in Southern California. Brothers Eric (vocals) and Jeff (guitar) Clayton, Dean Forsythe (bass) and Chris Fee (drums) were among its early members. The origin of the group's name is derived from a David Bowie composition known as "Saviour Machine" (which can be found on his 1970 album, The Man Who Sold The World). In 1990, Saviour Machine produced an eponymous demo that contained eight tracks (including the twenty-minute, five part epic of "The Revelation"). At the present time, this Californian quartet had yet to completely define their sound, but it served as a satisfactory stepping stone towards the sound that they would eventually sculpt. It was three years later in 1993 when Saviour Machine finally released the first, official, full-length album (which like the demo was also self-titled) on Intense Records, a label founded in Santa Ana, CA around the mid-to-late 1980s that sponsored other Christian Metal groups such as Deliverance, Vengeance Rising, Tourniquet, Sacred Warrior and Mortification. The majority of Christian artists/groups that I've heard so far usually just tend to emulate the music of the most renowned, secular ones (without really adding anything distinctive to it). Saviour Machine, on the other hand, is a bit different. While this group does take inspiration from the likes of David Bowie, Sisters Of Mercy, Iron Maiden, Black Sabbath, U2, King Crimson and Genesis (perhaps also even a little from Pink Floyd, Queensrÿche, Trouble and Fields Of The Nephilim), they still create their own majestic and unique style. One thing that immediately distinguishes them from other Gothic Metal contemporaries is Eric Clayton, who sings very passionately and tends to have quite a versatile vocal range as well.
The man can easily go from using rich, bass/baritone vocals to higher-pitched, quasi-operatic singing. At times, his voice is reminiscent to that of Andrew Eldritch (Sisters Of Mercy) and Peter Murphy (Bahaus) while at others a bit like David Bowie and even Geoff Tate (Queensrÿche). Eric may appear to be the shining force behind Saviour Machine, but the rest of the members and their contributions are just as significant, and should be noted as well. His sibling, Jeff Clayton, is a fine and humble guitarist who plays with such an emotive endeavor. Also have to love Dean Forsythe's springing bass, which can actually be heard with some amount of clarity. On Saviour Machine, the original drummer of the group (Chris Fee) was replaced with Samuel West, who proves to be even more dynamic in his abilities. Throughout the album, Samuel provides exceptional drumming and fills. All in all, this line-up is probably the best that ever was regarding this group. With such talent and promise, some enthusiasts like myself probably must have thought to themselves at one point or another and wondered, "How is it that Saviour Machine never really got more recognition?". To the best of my knowledge, this can be attributed to several factors: One was their reputed "dark" image/persona. Eric was constantly criticized by close-minded Christian conservatives about his appearance, since he wore white make-up and used a mystical jewel to adorn his forehead (which supposedly was meant to represent the "Seal Of The Lamb"). This probably made him look more like a "pagan" or an occultist of some type rather than some clean-cut, "civil" Christian. In relation to all this, the mascot symbol of Saviour Machine is an ivory mask (the one that remains suspended in outer space, as apparent on the cosmic cover of the album).
According to Eric himself, the mask here is a metaphor that represents the flesh and how quickly people "judge flesh", as opposed to what's underneath it (for example, judging a book by its cover or a person by their appearance; something which almost everyone is guilty of committing). He once stated in a past interview that a generous amount of time and thought went into creating this "original and meaningful" concept for Saviour Machine. Apparently, his make-up represents the mask itself and clearly demonstrates this unfortunate truth (that humans are usually quick to judge based on the superficial aspects of an individual). Another thing responsible for hindering the widespread success of the group was their "controversial" and theatrical concert performances. On stage, flags of the United Nations were burnt in order to make a powerful statement against this organization. Chains and artificial blood were also utilized as stage props (which in turn might have frightened off or appalled some of their Christian audience at the time). Adding to the ever-increasing list of criticisms, the concepts behind the music were sometimes viewed as being too dark or negative, as a share of them are directly inspired by the apocalyptic prophecies found in The Holy Bible. Other themes reference the dangers of organized religion and its zealots, as well as the wickedness of this cold, hollow world. Unfortunately, many Christians (with their heightened sensitivity and all) misunderstood Saviour Machine's true intentions. Due to all of these things, their early records were actually taken off the shelves from Christian retail stores. Eric once reflected upon all of this in an interview I uncovered:
"We..... this gets into a long story, but back in 1993, when our first album came out, there was a good buzz about Saviour Machine before we released our first record. The record sold really well in the stores for about six weeks, and shortly after, the controversy started brewing. We had such a backlash of controversy within the first two months that by the end of the third month, 85-90% of 'Saviour Machine' [S/T] had been pulled from Christian retail. That really ended our initial interest into the Christian music world. I guess you could say that we were ahead of our time with the makeup, the imagery, and some of the more impressionistic lyrics and so forth. It was too much for the, let’s say the Bible belt, or the mainstream America. The Christian music world was definitely not ready for it here (the U.S.), that it closed the book here. Fortunately God opened a huge door for us over in Europe."
There is also an infamous incident that occurred in the early 1990s when Saviour Machine was touring in Minnesota with Christian Thrash Metal band, Deliverance. During the performance of Saviour Machine, the electricity was disconnected by the management of the venue, and they were then ultimately forced off the stage. In spite of the controversy and hardships that Saviour Machine endured, they still have secured for themselves a miniscule but loyal following (although more so in Europe than in their native country of the United States). Let's dive into the actual musical content now, shall we? The first track on Saviour Machine was originally featured on the aforementioned 1990 demo of the same name, but this re-recorded version proves to be infinitely better in a myriad of ways. "Carnival Of Souls" unravels in a blaze of splendor and grandeur. Haunting, choral vocalizations, striding power chords and clashing percussion all contribute to this effect. As it settles down, the composition goes through a tranquil passage of U2-inspired acoustic strings and sleek bass notes. Eric Clayton then makes his presence known, singing in a baritone David Bowie-meets-Andrew Eldritch styled voice. The ethereal guitars and keyboards that manifest here are another wonderful aspect. Simply put, "Carnival Of Souls" is one of the greatest compositions that this group ever penned.
"Into the carnival of souls
Surrendered to the fight
They dance upon the edge
They dance upon the night
To wake up in the dark
And find they've lost their way
Their way back to the door
Their way back to the light"
I should quickly mention that the production of this album tends to be quite thin or semi lo-fi in quality, however, it's nothing too dire. Personally speaking, a slightly peccable production on a release does not necessarily bother me much just as long as the songwriting and musicianship are up to standard (of which they truly are here). The metallic elements of Saviour Machine become revealed on "Force Of The Entity". Considerably harder in tone than its predecessor, it demonstrates more influence from 1980s Heavy Metal groups such as Iron Maiden and Queensrÿche than the Post-Punk/Goth Rock scene of the same decade. The magnificent "Legion" alludes to specific prophecies found in the "Revelations" part of The Holy Bible (one being about "The Whore Of Babylon", as it makes mention of the verse, "She drinks the blood of prophets and she drinks the blood of saints"). Beautiful guitar melodies and elegant piano accompany the pleasant voice of Eric as he relays a set of interesting lyrics (while they're rather tame in nature, Christian folks back then still thought of them as being controversial and inappropriate).
"Legion moves over the land
Softly he whispers, his forces command
Naked she lies on the crucifix, crying the tears of the innocent die
The dragon slides between her thighs
The dragon breathes the fire as blood drips from her eyes
Until delivered of the child"
"Ludicrous Smiles" sounds very dramatic, featuring an array of vibrant yet somber guitar work from Jeff Clayton. By the time that "The Wicked Window" appears the momentum soon wanes. The mood of this song is quite solemn (haunting even). From the beginning to the middle its tempo is very gradual, but near the finale it becomes revitalized when Saviour Machine rushes in with both agility and aggression. "Son Of The Rain" further showcases the sophisticated, regal voice of Eric alongside piano, violin and cello. The grandiloquent ten-minute epic, "Killer", serves as one of the album's highlights and also has a more progressive structure. The arrangements are elaborate and there is an exotic Middle Eastern or Egyptian flair to the music too (influence from early Black Sabbath, Powerslave-era Iron Maiden and Classical music can be perceived as well). As "Killer" fades into the metaphorical shadows of oblivion, samples from a Horror film and Carl Orff's O Fortuna ascend right around the eight-minute mark. Upon the first time one listens to this segment, it feels unorthodox and out-of-place, but with repeated listens you become accustomed to it and ultimately further aggregates to the "archaic" atmosphere. "The Widow And The Bride" then rapidly breaks through with a vortex of guitar melodies, not to forget the vigorous rhythm section propelled forward by Samuel West and Dean Forsythe. "Christians And Lunatics" incorporates light Thrash Metal elements and female background singers. The beginning of "Retribution" was also partially utilized here for the middle section.
"Christians and lunatics search for the light
Catholics and mormons will fight in the night
Preachers and presidents steal from them all
Teachers and leaders awaiting the sign of its fall"
"The Mask" has a more gentle temperament featuring lush, iridescent guitar harmonies that I adore. U2 is an obvious influence on this song, as can be heard in Eric's soft-spoken voice, which at specific times bears a vague resemblance to that of Bono's. "The Mask" is actually a re-recorded, re-arranged version of "When The Cat Came Home" (originally featured on the 1990 demo). Which version is superior in my opinion? This one, of course. Saviour Machine then tone things down even further with the sentimental power ballad, "A World Alone". The heart and soul of Eric make this a very touching ballad, one that absolutely could have been a successful hit - If only it had gotten some proper attention. The final composition to be experienced is "Jesus Christ". Despite the fact that its title bears the name of the omnipotent saviour of the Christian faith, this does not necessarily appear to be some glorious hymn of praise (judging by the lyricism). It seems to deliver another type of message - One that speaks of all (or condemns) the malevolent things that human beings do to each other in the name of religions and God(s). "Jesus Christ" takes its sweet time, slowly commencing with docile yet melancholic acoustic guitars. Triumphant, feminine choirs and flourishing, symphonic keyboards periodically sweep the composition away with a vast sense of majesty and grace. While there are feelings of sorrow and grievance that are very palpable, there is also a positive feeling of hope that can be sensed by the time that this powerful song ends (that even in the darkest of times, not all is completely lost. At least, that's what I get out of it). "Jesus Christ" is a tremendous, praiseworthy way to end the album.
"You are the reason for the wars that plague the land
You are the symbol for the cause in which they stand
You are the one who sits there watching as they die
You are the son of man that listens as they cry"
With their eponymous debut from 1993, Saviour Machine demonstrated to the universe that Christians are also capable of creating some God-tier Metal. Not only is Saviour Machine one of the finest releases of the entire Gothic Metal subgenre (despite being slightly marred by the thin, semi-lo-fi production), it actually happens to be amongst one of the earliest as well (I consider Saviour Machine as one of the trailblazers of both the Gothic and Symphonic Metal subgenres). This Christian group didn't ever surpass the excellence of their official debut with future releases, but enthusiasts are still encouraged to seek out the sequel, Saviour Machine II, along with the ambitious Legend series. ... See More
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