The Blackening

Ah, Machine Head. One of the most criticized bands of recent years. Like Metallica before them, they befell the pressures of the mainstream media, and for two consecutively disappointing albums, tortured the ears of saddened fans. Their debut was stunning, a masterpiece of blended genres; Groove-tinged Thrash Metal, with a hint of Industrial thrown in. They then went to release the equally great “The More Things Change…”, but was all too similar in sound to its predecessor. The band could not have sunk any lower. But then 2003 saw the release of “Through the Ashes of Empires”. This was Machine Head’s blistering return to greatness. With the addition of Robb Flynn’s former band mate, lead guitarist Phil Demmel, the band had shown the world what it could do. After several very successful tours and a live DVD, Machine Head returned to the studio. Four years wait and anticipation brought the world to 2007, when they released The Blackening…

The album starts off with the ominous sound of a much distorted call from a mosque. “Clenching the Fists of Dissent” begins the album with a quiet and peaceful acoustic riff repeated over, the addition of a snare and Robb Flynn screaming anti-war propaganda in the background builds up the tension. The tension breaks out into one of the most technically mind-blowing riffs Machine Head have ever performed. The bass and drums kick in as Flynn’s scream of “WAR!” launches the listener into a ten minute marvel of Thrash Metal. With finger-melting lead interludes, an almost constant double bass pedal performance from drummer Dave McClain and unforgiving breakdowns, the song fades out leaving the listener’s heart thumping.

Track number 2, subtly titled “Beautiful Mourning” is no less powerful. With the Flynn’s brutal scream of “FUCK YOU ALL!” opening the track, the pounding drums slow to Flynn’s terrifying vocal performance. The guitar work of Demmel is truly excellent, with a short solo from him sending the song flying from a breakdown straight into the cleanly sung finish.

The third track, “Aesthetics of Hate”, is a true example of how for Machine Head has come through these long years. Beginning with a quite chilling guitar riff that ultimately chases the listener throughout the seven minute thrash attack, sets the scene for this showcase of Demmel and Flynn’s tight guitar work. This song is, at the end of the day, a middle finger to a man who slandered Dimebag Darrell, as well as a tribute to the guitar legend. The lyrics are gut-wrenching and the bass performance is superb throughout. The drums are relentless and skillful. Several solos from the guitarists lead to the flawless cries for divine intervention from Flynn, and the track concludes with an almost “Raining Blood” reminiscent combination of screeching guitars and staggered floor toms.

“Now I Lay Thee Down” is similarly emotive lyrically to “Aesthetics of Hate”. They follow a story reminiscent of Romeo and Juliet. Musically, it is incredibly varied, opening with a very soft guitar riff that, like “Aesthetics of Hate”, return time and time again throughout the song. The drums are melodic, matching the bass perfectly, and the tap interlude from Demmel is incredible. The solos, however, are the really special things about this song; the two guitarists trade off in a sort-of battle, each turn separated by a rendition of the main riff. The song ends violently after a brilliantly sung bridge.
The pick-slide of “Slanderous”, followed by the very technical guitar work, and the complex drums, make this a very memorable track. A five minute thrash attack against racism and prejudice, this is where Machine Head show their controversial lyrical genius. With the several uses of the “N-word”, this song delivers a brutal beat-down to injustice. Once again, the axe-men show their skill, but Demmel’s solos are once again a high point for this song. Concluding with another rendition of the blistering riff in the intro, Machine Head have left the listener breathless.

“Halo”. From the very peaceful intro, to the ultimate, thrashing conclusion, this is the song that Machine Head were born to write. The intro builds at a fast pace, via use of an accelerating double bass pedal, opening up into a technically amazing riff, the guitarists show their skills here. Flynn’s vocal performance is outstanding here, as his screams break out into a very energizing cleanly sung section with bassist Adam Duce. The chorus is sung over an equally memorable high-end riff, and pounding drums and tom rolls. After the second chorus, the song collapses into that chilling intro riff. The breakdown is brutal; Robb Flynn’s screams take the listener by surprise. The drum performance is melodic and precise. But the breakdown ends abruptly; Phil Demmel unleashes the most blistering and mind-blowing solo on the album yet. The drums and bass kick in to follow the lead work through a minute long journey showcasing Phil Demmel’s incredible guitar abilities. With some of the most complex tapping, shredding and sweep picking around, and a staggering dual lead finish to it, the solo in itself is a masterpiece and is probably one of the most intense solos ever recorded. The soft singing of Flynn breaks into an epic finish; with Duce singing, Flynn screaming, the song breaks back into a very Thrashy, and pick-slide filled ride to the end of this nine minute epic.

“Wolves” kicks in where “Halo” left off. A blood curdling vocal opening, followed by another awesome lead break from Demmel sets the scene for the rest of the song. The almost constant double bass drumming from McClain is outstanding. The lengthy, but none the less entertaining, instrumental bridge, and leading to another guitar trade off between Demmel and Flynn, the song comes abruptly to a halt, with Flynn’s voice echoing into the distance.

After the sonic assault that was “Wolves”, one can only hope that the final track from this audio journey would be something somewhat more relaxing. The listener is allowed two and a half minutes of soft singing backed by similarly peaceful guitars and cymbal orientated drum work. But, like the first track of The Blackening, apprehension is slowly becoming stronger, until the song breaks out into a somewhat slower but none the less heavy track. The lyrics are target at the Iraq War, and suit the song perfectly. The singing is, once again, very powerful, and fits in very well with the pounding bass line and guitar work. The song eventually breaks into a brilliant Thrash Metal finish, with a very fast riff, and another very impressive solo from Demmel, with a very heavy focus on complex tapping. The song culminates in the form of staggered floor toms and cymbals, slowing the track from the Thrash Metal guitar work. Flynn’s whispering of the title as the screeching of a guitar fades out, leaving the listener truly impressed.

This may well be one of the best albums ever recorded, with the quality comparable to that of Master of Puppets. Even if you don’t agree with that, listening to The Blackening will ultimately leave you a changed person. It is such a shame that this phenomenal piece of Metal wasn’t recorded twenty years earlier, for it would’ve put the output of the Big Four at the time to shame. This is an outstanding performance by the whole band. This truly has shown the world what to expect from the Bay Area four-piece, and will make them reconsider ever doubting them. Machine Head have created their masterpiece.