Mechanical Poet - "Woodland Prattlers" REVIEWS

[Langoustator]

From www.gutsofdarkness.com (FR)

4/6

A l'instar de la pochette de l'album, le style des russes de Mechanical Poets est assez intrigant. Basée sur le métal progressif plutôt traditionnel et pompeux, leur musique intègre des parties orchestrales inspirées de dessins-animés ainsi que des éléments électroniques. Loin des cartoons rigolos, "Woodland Prattlers" fait plutôt dans le Harry Potter-like, entre magie, rebondissements, envolées cinématographiques et mélodies "grand public". De quoi être partagé entre le côté "expérimental" et le côté "gentillet" du style du groupe... Au delà du second aspect, donc, le groupe propose tout de même un mélange assez surprenant : moderne de part les sonorités électroniques et ses beats subtilement intégrés, dynamisant avec ardeur les compositions, et traditionnel de part les conventions du prog, le chant typé heavy-metal et les mélodies typées elles un peu Walt Dysney... Mais rien de préjoratif là-dedans, c'est mignon Walt Disney! Paradoxal tout ça donc... Après une première écoute difficile, voire plusieurs, on finit par se laisser prendre au jeu et se laisser distraire, et même par trouver les ambiances prenantes ou émouvantes, selon les moments. L'imagerie marquée de la musique de Mechanical Poet prend d'ailleurs toute sa dimension dans le livret réalisé sous forme de BD, les paroles formant les dialogues. Original, distrayant, mais pas transcendant... June 2005

 

[Emi]

from DIGITALMETAL

http://www.digitalmetal.com/reviews.asp?cid=6621

Rate/quote: "It’s the most original piece of music I’ve heard in a very long time"

When I prepare to review a band that I’ve never heard before, I try not to be influenced by things like band names, album names and cover art because I don’t want to go in with a preconceived notion of what it should sound like. But I’ll admit that I was incredibly intrigued when I took a look at Mechanical Poet’s Woodland Prattlers . I thought both the band name and album name were pretty unusual for a metal band. Then there was the cover art, which is a nice bit of fairy tale fantasy art with Roald Dahl/Tim Burton leanings. It looked more like a slightly dark album of children’s music than a metal record.

The album opens with a nice classical, movie score-style piece that seems to back up the dark children’s music theory, but then launches into an all-out power metal assault on the second track “Stormchild.” It’s a surprisingly solid slab of metal with some classical underpinnings, a nice song. Things get weirder from there. “Bogie in a Coal-Hole” sounds like a cross between Faith No More, Mushroomhead, System of a Down and the Brothers Grimm. Some might find it a little campy, but at this point, I’m loving the album.

“Sirens from the Underland” throws electronic sounds into the music, sort of a medieval Nine Inch Nails. It’s back to full power metal mode for the bashing opening riff of “Strayed Moppet,” but the verse again evokes NIN. It’s one of the strongest songs on the album. The electronics carry through into the 11-minute “Natural Quaternion,” which is divided into four parts, “Sylphs,” “Gnomes,” “Undines” and “Salamanders,” each with its own personality. The song travels through electronic trance, prog, traditional metal, a medieval goth sound, classical and I believe a few other pieces of music that I can’t identify. I kept waiting for them to break out the steel guitar and throw a country bit in.

The band does miss here and there. “Shadows on a Casement” strays too far toward Broadway musical. Listening to it, I can imagine someone in a spotlight overacting it on stage at the local theater. Then there’s the heavy metal polka, “Swamp-Stamp-Polka.” While I do like some of the riffs on this song it’s far too over-the top, proving polka’s probably best left to Weird Al. The mix is a little muddy on the more electronic songs, with a little bit too much emphasis on the bass. Cranked up on my stereo it thumps on those songs like a rap album, which is most definitely not good.

Hardcore metal purists will absolutely detest this album, and by all rights I shouldn’t like it, but I can’t get enough of it. It’s the most original piece of music I’ve heard in a very long time. It’s Trans-Siberian Orchestra with a campy sense of humor and a wider palette. It’s the kind of metal album your toddler can enjoy just as much as you, but it’s definitely not Disney. If that sounds like something you’d hate, then it probably is. But if you like quirky experimental metal mix-ups, then this is about as weird and quirky as you’re going to find. Give it a spin.
[Fred Phillips]

 

[Emi]

from ROYAL CARNAGE

http://www.royalcarnage.com/?p=showreview&rid=307&PHPSESSID=0992b7b4c469a270d8ef175e2dc172b9


When I first received MECHANICAL POET’s debut CD, Woodland Prattlers, I took one look at the cartoonish cover art, rolled my eyes, and threw it aside. As it sat on my desk, collecting dust, I began to note a small buzz beginning to build about it on the net. This buzz, along with the band’s affiliation with Code666, piqued my curiosity about what awaited me.

The promo sheet describes MECHANICAL POET as a mix of “Tim Burton, Progressive Metal, Japanese cartoons and East-European Gothic atmospheres.” Suffice it to say, that’s not a description I would have ever arrived at. It was time to let the music do the talking:

1st Listen – headphones, in bed… I fell asleep half way through.

2nd Listen – driving in the car... I struggle to get through it, wanting to throw on something I actually want to hear.

3rd Listen – headphones, in bed… the music is pretty cool, but I’m just not digging the singer’s approach.

4th Listen – sitting at my computer… about to write my review and pan the CD. Hmmm… I like this.

Russia’s MECHANICAL POET puts forth a truly intriguing blend of Progressive Metal. They start with a traditional Prog Metal approach, then blend in touches of orchestral sounds and trance electronics. By and large, this approach works, and works well. After the opening instrumental, “Main Titles”, the CD is off to the races with its heaviest track, “Stormchild”. As this song begins, I found myself taken aback by Tom Tokmakoff’s superb drum style, as well as the excellent drum sound that was achieved on this recording. As vocalist Max Samosvat makes his first appearance, he conjures up memories of TAROT vocalist Marco Hietala. However, whereas Marco’s approach tends to be one dimensional, Max has a certain playful quirkiness in his delivery that gives the vocals a sense of variety.

This is the part of the review where I’m supposed to tell you what combination of bands make up MECHANICAL POET’s sound. Forget it. I’m not getting lured down that rabbit hole. While MECHANICAL POET doesn’t reinvent the wheel, they’ve certainly beaten the old wheel into a rather unique shape.

Woodland Prattlers is, as too many other CDs these days are, a concept album. Sadly, MECHANICAL POET’s command of English isn’t strong enough to convey the storyline in a coherent manner. Perhaps the 20-page supplement that comes with the retail version of the CD, will help clarify the story. Regardless, the lyrical short-comings do little to diminish the overall quality of the songs. MECHANICAL POET’s greatest strength may be their ability to keep things varied, without ever drifting into anything indulgent or gratuitous. In this respect, they succeed where so many Prog Metal acts fail. While their songs take a number of interesting, and often unexpected turns, those turns are always taken to create a stronger song, rather than for flexing their musical chops.

All in all Woodland Prattlers is an enjoyable experience. As a listener, you just never know where these guys are headed. And once you grow comfortable with that fact, the ride is a great deal of fun.