POP MUSIC REVIEW : Confusing Overload in Machines Set

Machines of Loving Grace is part of industrial rock’s second generation, fusing the stark, mechanical genre with the live instrumentation of rock ‘n’ roll. But the Tucson quintet has gone overboard, smothering the traditionally stripped-down style with the kind of mainstream rock decadence that it was originally a reaction against.

At the Whisky on Tuesday, singer Scott Benzel ripped out guttural screams and paced the stage maniacally, but his efforts failed to steer the band out of the confusing mass of noise they buried themselves under.

The Machines used too much of everything--too much poppish keyboards, too much evil affectation in the vocals, too much plucking, funky bass. The result was a confusing overload of insubstantial pop music and directionless noise. Recorded samples and beats mingled with the double drums, further corrupting the simplicity needed to drive strong industrial or electronic rock hybrids.

Second-billed Course of Empire started off cold and jerky, but the Dallas quintet soon warmed its dark, intense sound into an enticing, if abrasive, blend. The hypnotic tribal beat from two drummers and the gentle interludes of spacey guitar added dynamics to the density. Though singer Vaughn Stevenson had problems matching the intensity of the music with his scratchy vocals, Course of Empire’s primal, organic approach is clearly full of potential.