Ocean Machine - Biomech Review
Artist | |
---|---|
Album | ![]() Ocean Machine - Biomech |
Type | Album (Studio full-length) |
Released | March 2, 1998 |
Genres | Progressive Metal, Alternative Metal |
Labels | USG |
Length | 1:14:01 |
Ranked | #52 for 1998 , #1,699 all-time |
Album rating : 89.4 / 100
Votes : 11 (1 review)
Votes : 11 (1 review)
January 25, 2024
And so began Devin Townsend’s solo career. Often hailed as a musical genius with no limits to his creativity, unbound by genres, yet still Metal through and through, the debut is a unique piece in Metal history. That is to say – in 1997, absolutely nothing sounded like this, and it’s not dated one bit. Eclectic, modern, catchy, and willing to throw all ideals of what Metal should be out the window in order to craft whatever the hell he wants it to be.
But, is the album good? It’s certainly good, but is it that good? I don’t think so. Most songs are overlong, lacking any strong musical hooks, and meandering in dense atmosphere that isn’t really sure what it wants to be. Many people will call this melancholic or ethereal; I hear no such thing. The closing song is a fantastic example of the heartfelt melancholy Devin is capable of – nowhere else on the album do I really feel any significant melancholy. Similarly, the first half of Bastard is built on an incredible riff, one of those that are so good you don’t mind hearing it over and over for 5 minutes. Despite that, I can’t recall another riff on the album. Nothing else really captured me.
The album does a great job of displaying Devin’s genius through moments and pieces, highlights that prove his potential. But as for the full album, and even individual songs, they are bloated, filled with insignificant space, and repetitive too often when they have nothing worthwhile to repeat. I can easily see how this could be so lauded among fans, because it is groundbreaking, it’s impressive on many fronts, and there is a lot to love here. For me, it just can’t break through the barrier of being a “good” album. For that, Devin must shed his excess skin.
But, is the album good? It’s certainly good, but is it that good? I don’t think so. Most songs are overlong, lacking any strong musical hooks, and meandering in dense atmosphere that isn’t really sure what it wants to be. Many people will call this melancholic or ethereal; I hear no such thing. The closing song is a fantastic example of the heartfelt melancholy Devin is capable of – nowhere else on the album do I really feel any significant melancholy. Similarly, the first half of Bastard is built on an incredible riff, one of those that are so good you don’t mind hearing it over and over for 5 minutes. Despite that, I can’t recall another riff on the album. Nothing else really captured me.
The album does a great job of displaying Devin’s genius through moments and pieces, highlights that prove his potential. But as for the full album, and even individual songs, they are bloated, filled with insignificant space, and repetitive too often when they have nothing worthwhile to repeat. I can easily see how this could be so lauded among fans, because it is groundbreaking, it’s impressive on many fronts, and there is a lot to love here. For me, it just can’t break through the barrier of being a “good” album. For that, Devin must shed his excess skin.
![](/img3/like-off.png)
Track listing (Songs)
title | rating | votes | ||
---|---|---|---|---|
1. | Seventh Wave | 6:50 | 86.7 | 3 |
2. | Life | 4:31 | 91.7 | 3 |
3. | Night | 4:45 | 88.3 | 3 |
4. | Hide Nowhere | 5:00 | 88.3 | 3 |
5. | 3 A.M. | 1:56 | 80 | 2 |
6. | Voices in the Fan | 4:39 | 88.3 | 3 |
7. | Greetings | 2:53 | 87.5 | 2 |
8. | Regulator | 5:06 | 91.7 | 3 |
9. | Funeral | 8:06 | 90 | 3 |
10. | Bastard | 10:17 | 86.7 | 3 |
11. | The Death of Music | 12:15 | 93.3 | 3 |
12. | Things Beyond Things | 4:47 | 85 | 2 |
10,216 reviews
cover art | Artist | Album review | Reviewer | Rating | Date | Likes | |
---|---|---|---|---|---|---|---|
![]() | ![]() | Holy Hell Review (2005) | 90 | May 10, 2024 | 0 | ||
![]() | ![]() | Turbo Review (1986) | 85 | May 10, 2024 | 2 | ||
![]() | ![]() | Houdini Review (1993) | 60 | May 9, 2024 | 2 | ||
![]() | ![]() | 85 | May 9, 2024 | 4 | |||
![]() | ![]() | 85 | May 8, 2024 | 0 | |||
![]() | ![]() | Condemned Review (1991) | 90 | May 7, 2024 | 0 | ||
![]() | ![]() | Rocka Rolla Review (1974) | 70 | May 6, 2024 | 0 | ||
![]() | ![]() | Invincible Shield Review (2024) | 100 | May 4, 2024 | 3 | ||
![]() | ![]() | Shutdown.exe Review (2017) | 90 | May 3, 2024 | 1 | ||
![]() | ![]() | Low Review (1994) | 90 | May 1, 2024 | 0 | ||
![]() | ![]() | Tattooed Millionaire Review (1990) | 80 | Apr 30, 2024 | 0 | ||
![]() | ![]() | Inlé Review (2009) | 90 | Apr 29, 2024 | 0 | ||
![]() | ![]() | Wicca Review (1992) | 100 | Apr 26, 2024 | 6 | ||
![]() | ![]() | Metallica Review (1991) | 85 | Apr 26, 2024 | 0 | ||
![]() | ![]() | Banished by Sin Review (2024) | 75 | Apr 26, 2024 | 1 | ||
![]() | ![]() | Mycelium Review (2024) | 90 | Apr 26, 2024 | 0 | ||
![]() | ![]() | 95 | Apr 22, 2024 | 12 | |||
![]() | ![]() | On Stage Review (1977) [Live] | 95 | Apr 21, 2024 | 1 | ||
![]() | ![]() | Of What's to Come Review (2008) | 85 | Apr 20, 2024 | 0 | ||
![]() | ![]() | 85 | Apr 20, 2024 | 0 |
![level 7](/img2/m2-7.gif)
Oct 25, 2020 Likes : 4
Guitar - Mike Kenneally (ex-Frank Zappa)
Guitar - Markus Reuter (Stick Men, The Crimson Project),
Drummer - Morgan Ågren (Kaipa, Mats & Morgan, Frank Zappa),
Bass - Nathan Navarro
Keyboard - Diego Tejeida (Haken)
Guitarist/Vocalist - Ché Aimee Dorval (Casualties Of Cool)
Vocals - Samantha & Anne Preis and Arabella Packford.
불가리아 플로브디브에서 했... Read More