Tremonti - A Dying Machine
- FaceOff - עימות חזיתי
- Jun 8
- 5 min read
On June 8, 2018, "Tremonti" released their fifth studio album "A Dying Machine".
This is likely the band's finest album, even though the authors of these lines believe there is a superior one...
This album is a concept piece, released alongside a book of the same title, authored by Mark Tremonti and writer John Shirley.
The book is crafted to complete the narrative fabric for the listener. The story unfolds at the start of the next century, in a futuristic world where technology allows for the synthetic creation of a human being. This creation, known as a "Vessel," primarily consists of human parts but is essentially a type of Android (similar to those in the movie "Blade Runner"), loaded with data and features specifically chosen by its owners, referred to as "Primaries." These "Vessels" are produced at the behest of their "Primaries," using human DNA, and are as unique as humans, yet not entirely so...
Over time, certain "Vessels" start to resist and defy their owners. The manufacturer issues a "recall" for these "Vessels," which actually incites them to initiate a war against their owners. The story's protagonist is one of these "Vessels," designed and programmed by his "Primary" to love only him, in an attempt to fill the painful void left by his wife's death.
Mark Tremonti mentioned that he has always aspired to write a novel, and working on this album allowed him to "kill two birds" by releasing both an album and a book. The concept for the storyline began during a warm-up before an "Alter Bridge" concert in Hungary, where he played a specific chord progression that later became the theme song. Mark Tremonti explained that the plot naturally formed in his mind and continued to evolve during the performance. He recalls being on stage with ideas emerging between the songs he played at the concert, eagerly anticipating returning to the locker room to write the song.
Musically, this album serves as a direct continuation of the previous ones, with Mark Tremonti only improving with each release. We've always recognized Tremonti as a phenomenal musical talent. We knew he was an excellent guitarist, a gifted writer, and even a decent singer. However, on this album, he truly outdoes himself in every aspect. The level of writing, being a full concept album, the quality of playing, production, and sound, and most notably, the singing, are all exceptional. What a beautiful voice—it's astonishing what this incredible guitarist can achieve vocally, and it certainly enhances the enjoyment of this side project, which is gradually gaining more significance.
What can we expect from this album?
Following the "March" drums in the intro of the opening track "Bringer Of War", Tremonti charges into a "battle" with a colossal opening riff and powerful drums that set the intense pace of the conflict between the "Primaries" and "Vessels". Mark Tremonti's melodic and clear vocals harmonize perfectly with the razor-sharp riffs and intense beat, culminating in a powerful roar during the chorus.
We are still recovering from the turmoil of "war," and Termonti is dropping a bomb on us with "From The Sky." Termonti's brilliance lies in the incredible blend of sharp riffs and a smooth, captivating melody, which is precisely what unfolds between the verses and the chorus of this track. Instead of lyrics, it features the battle cry "Wow wow wow ....." and we are already hooked...
And just when you thought it couldn't get any better, the theme song "A Dying Machine" comes in, shattering every bone in our body. We didn't just select this song as the opening track for our inaugural "Face/Off" show by chance. Garrett Whitlock's powerful drumming provides a solid foundation for Tremonti's cutting riffs, as the song moves through waves of calm and chaos, flowing directly into our veins. The razor-sharp guitar work and incredible vocals are remarkable; Tremonti groans, writhes, roars, and rages while the rhythm section sweats and struggles through this musical "roller coaster." And those "little ones" that completely overwhelm us. Listen to the sequence of triplets that Whitlock performs intermittently starting at 0:57—simply ingenious! The break to the C-ParC-part:57 and the transition from gentle, soothing vocals to angry cries at 4:30—"Priceless"....
Then "Trust" appears and transforms everything. The atmosphere shifts completely, delivering a catchy and accessible song with an irresistible chorus. Tremonti adopts a more stable and mature style, bordering on Nu-Metal, complemented by Eric Friedman's striking and bold bass work and a robust, powerful drum sound.
"Throw Them To The Lions" creates suspense with a mechanical and "distorted" riff that draws us into a whirlwind of intense and chaotic rhythm. Once again, Tremonti skillfully blends speed and power with a memorable melody, achieving great results. "Make It Hurt" demonstrates an evolution of the "Tremonti formula," featuring a chorus melody set against a rapid rhythm that compels Tremonti's voice to keep up with the frenzied drumbeat.
The acoustic guitar makes its debut with "Traipse", where Tremonti's clean and inviting vocals transition into hard, adrenaline-fueled rock rhythms, creating a highly stimulating experience. Tremonti's guitar talent shines as he effortlessly navigates through a series of riffs and solos, embellished with blues influences. "The First The Last" returns to the acoustic, showcasing the deep emotion in Tremonti's exposed singing, which conveys feelings of heartbreak and loss. Here, Tremonti demonstrates his prowess as a singer, seamlessly roaring over heavy riffs while also delivering sharp and eloquent ballads.
"A Lot Like Sin" jolts us from the dream of a better world, immersing us in heavy, cruel riffs layered over bubbling drum beats and aggressive vocals. "The Day When Legions Burned" ramps up the tempo to near "Speed" or "Thrash" levels, yet Tremonti's clean and melodic vocals transport us to a slightly different realm, still powerful. "As Silence Becomes" returns us to acoustic sounds and Tremonti's delicate, emotive singing, expressing his longing for a companion to share time with. "Take You With Me" picks up the pace again with a youthful, vibrant punk-rock vibe, making it unsurprising that this track was chosen as the first single before the album release due to its catchy and approachable nature.
We approach the conclusion with the somber and blues-infused rhythm of "Desolation," which, for some reason, also evokes a "grunge" vibe. The album concludes with "Found," an instrumental piece that incorporates industrial elements, characterized by futuristic, mechanical, and foreboding sounds set to a drum machine beat. This track likely serves as a closing piece, potentially accompanying a book or movie, if Tremonti chooses to expand the concept story into one.
There is no doubt that "A Dying Machine" represents the pinnacle of Tremonti's work thus far. Crafting a full concept album that seamlessly integrates with a simultaneously published book is a remarkable achievement. However, something still seems to be missing for the album to achieve perfection. Unlike other concept albums like "2112", "Metropolis Pt. 2: Scenes from a Memory", and "Operation: Mindcrime", the storyline isn't entirely clear from the album alone. The lyrics are ambiguous, lacking crucial details needed to understand the story, characters, setting, language, and time, and at times, the connection between the music and the narrative is not entirely evident. To fully appreciate the album, one must read the accompanying novel, which somewhat diminishes the impact of Tremonti's unique accomplishment.
For Listening: Spotify, Apple Music
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