Some of us discover Secret Machines thanks to that concert that took place in the defunct Aqualung venue in Madrid in June 2005, in which the New York-based band acted as the opening act for some Oasis that thus fulfilled their whim of touring small venues. It didn’t seem like a bad letter of introduction, the one consisting of appearing as guests of what was then one of the most famous groups on the planet, an occasion that the North American combo took advantage of to defend that title debut live “Now Here Is Nowhere” (Reprise, 04).
Almost two decades have passed since that evening and Secret Machines They continue to be active, maintaining a second line status in which they seem established and also comfortable, publishing from time to time a work that is somewhere between acceptable and attractive with which to keep their presence alive. The fifth album of the formation is covered by psychedelic and misty songs, which encourage a complete trip throughout nine stops and fifty minutes long. An invitation that alternates satisfactory lysergic scenes with moments of transition that seem to serve as a bridge, precisely, between the accentuated flashes of the reference.
Among the targets appears the initial trio made up of “There’s No Starting Over”, “I Think It’s Light Outside” y “You Want It Worse”, which capture the listener through colors blurred between generous doses of acid and smoke. Cuts such as “Even Out The Overflow”, “The Answer” or the seven minutes from the industrial “Crucifixion Time” openly referring to Bauhaus or Killing Joke. For their part, selected from the type of “Run Out The Silver Light”, “The Finalizer” or the instrumental “Last One Out” they complete the product, without fanfare but perhaps also without specifically enhancing its overall value.
“The Moth, The Lizard, And The Secret Machines” it is, in short, a record to dive in search of those juiciest pieces with which to satiate yourself; the same ones that certify that Brandon Curtis, Josh Garza and Phil Karnats have definitively opted for a past aspect (although slightly updated with the intention of sounding solid and current) for their new compositions. And, also and incidentally, which confirm that the combo is still capable of contributing some gems with each movement made in the form of an LP.