Reviewed by Andy Long

Take the best elements from early Genesis, Van Der Graaf Generator and Twelfth Night, mix in a large tablespoonful of both from Bauhaus and you will get some idea of where this communion of American musical exiles is coming from. I say exiles because Saviour Machine's particularly dark and intense brand of progressive rock has not earned them a huge fanbase in their home country but our continental friends have been climbing over each other to get their hands on any product by the band. They have played several big tours in Germany and have been receiving fan mail from all over Europe. This is their third album, although the first that I have heard and it reveals a band secure in their maturity and unafraid of musical boundaries. The powerful rhythm section provides keyboard player Nathan Van Hala and guitarist Jeff G Clayton with the landscape on which to pitch their battles, Clayton's style has a hint of Middle Eastern flavour to it whilst Van Hala's overpowering tones add to the sinister atmosphere. Eric Clayton's deep bass vocals, combined with his baldhead, white face paint and headset mike give him the typical prog-rock theatrical image (the borg from Star Trek?). Lyrically the album journeys through the dark images of sin, conflict and death in "Killer", "Carnival Of Souls" and "Legion" to find the ultimate answer in "Jesus Christ" and "Lover Never Dies" and with "The Stand" clocking in at 16 minutes plus, this album is a rare treat for proggers and goths alike.

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