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Oscar Fuentes Bills and Sepand Samzadeh, the creative minds behind this music, draw inspiration from Steve Erikson's novel to find the band’s name. Their ability to see imagination and inspiration through literature, a characteristic of prog-rock bands, is truly inspiring.
While striking and different, the cover art may not be immediately understandable. This element of surprise and intrigue adds another layer of engagement to the album.
"Seeds" starts with an orchestral sound, then the piano forms an ambient-like layer. The synth added is quite different, and we're off and running!
"Stones Faces" begins with rhythmic piano keys and a synth, providing a dreamy sequence. Then, it starts to pick up in pace with the drums added. A guitar's subtlety makes its presence known. Then, there is another shift in sound with a more prominent guitar and bass; the keys also add the bass sound. Suddenly, it all stops, and the track is over.
"Ascend" has an inviting piano introduction, as the keys melt into the air most pleasingly. The music gets higher in volume and sounds classical. It is theatrical and colored with emotion, and the piano is always so good at conveying that to a listener. It is solo piano at its best.
"UnEarth" continues with the piano's continuity and a guitar that sounds like a sitar is added. The piano is once again taking the lead, sounding like a continuation of the last track's premise, and there are interesting guitar sounds as well.
Intermission 4 is a quickie at 54 seconds and sounds very Tangerine Dream-like!
Side B begins with "Waltz for the Dead," which sounds like the title and runs for under two minutes.
It sounds like an entirely different album now, with an accordion sound and a carnival atmosphere. The bass is steady as wordless vocals come in, sounding like a lady's choir. Drums take prominence suddenly, and things get more interesting. You could compare it to a New Orleans funeral march without the horns.
"Proof Of Life" starts with a continuous synth sound on top of one another, like a focus point for meditation. It is very purposeful, and the guitar is off in the background, but you know it's there. The drums and bass pick up the speed, and the keys follow. A noticeable guitar enters with some stinging Pink Floyd-like riffs. Wordless vocals towards the end close it out. This is an outstanding track and my favorite—reminding me of ambient new age and contemporary instrumentals.
"Paradigm Lost" has a pulsating synth and rhythms with some guitar effects. The piano provides a nice touch during the track run.
"Being" seamlessly is segued from the previous track, giving the listener an anthology of sounds and some lyrics for the first time. The vocals are understated, and the music sometimes overtakes them, making them difficult to understand. However, the music is fabulous as the drums kick in and the track's pace steps up. The bass sounds more potent than ever, and then an echoing jangly guitar adds to the mix—yet another aspect that was not present before.
It all slows down as the piano takes the lead, and the drums are present yet subtle. The tone of the vocals gets in sync with the instrumentation. Then, a strong lead guitar arrives with the best solo on the album. It lasts for a few minutes, and it's terrific. Very tasteful playing on the six-string highlights the track coming closer to a close, and then the piano starts again with a backing synth as the curtain closes.
Perpetual Motion Machines (Music for a Film) is well done and a great listen. Most of the tracks feature eclectic musical styles. It is progressive, ambient, ambitious, and ultimately successful.
Keith “MuzikMan” Hannaleck-TFOV Founder
January 30, 2025
Tracks:
Side A:
1. Seeds 2:39
2. Stones Faces 3:16
3. Ascend 3:16
4. UnEarth 4:04
5. Intermission 4 0:54
Side B:
1. Waltz For The Dead 1:51
2. Proof Of Life 2:42
3. Paradigm Lost 6:32
4. Being (Featuring – Durga McBroom) 8:59
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