Creating innovative, atmospheric, heavy music is a task best left to the undaunted. And with all of the imitators out there, the challenge proved too worthwhile to pass up for a Bay Area, California group of musicians whose tireless chops are matched only by their desire - their need - to create.
Building on the time worn foundations of drums, guitars, bass and vocals, the music of DEATH MACHINE incorporates elements of a wide range of heavy music while not being a slave to those inspirations. While DEVIN weaves a thick spiral of groove with his bass, he is just as likely to tap and hammer away with ferocious timing and intensity. His low, rumbling bass lines are men perfectly matched in the eerie symbolism of thick, unique textures presented by THRAK who damages the air with riffs that seemingly arrive straight from the netherworld. Their dual polyrhythmic assaults receive the perfect complement with the unique percussion style of MIKE, who hits hard, clean and with compelling persuasion. The vocals, harsh and aggressive, spit forth from the lips of KIRK, a tireless performer whose seemingly boundless energy wraps itself around lyrics both apocalyptic, dark and pleading. What's more, DEATH MACHINE has added an element of theatricality with the addition of electronics, courtesy of ELIAS. He uses tones that simultaneously blanket the compositions while adding a rigorous dynamic counter element of melody or percussion at unexpected junctures.
The Tipton Brothers and Mike Guy have been playing music together as early as 1993 under the moniker ZERO HOUR. Together, they were a tight unit of technical metal mayhem, reaching a pinnacle of success in a demanding underground genre. Zero Hour built a loyal Bay Area following with the release of a critically acclaimed self-released, self-titled debut album in 1998. Shortly thereafter, they signed a contract for then- next album with independent label SENSORY/LASER'S EDGE. The label also provided the band with much unproved promotional and distributional opportunities. The follow up album, THE TOWERS OF AVARICE won sparkling reviews from nearly every magazine around the world in which it appeared. Such magazines included HIT PARADER, METAL MANIACS and BASS PLAYER (U.S.), ROCK HARD (Germany, France), SCREAM (Norway), FLASH (Italy), BRAVE WORDS & BLOODY KNUCKLES (Canada), HARD ROCK (France) and in countless fanzines and webzines. These musicians are not strangers to the art of performing live having performed in front of hundreds in metal festivals in Chicago, Atlanta, The Netherlands and Germany and touring up and down California and Western Europe.
DEATH MACHINE began in earnest with a conversation between Kirk, a fan of the talents of the Tipton Brothers and then- hard- hitting drummer, Mike, and an inspired idea for a more direct, powerful and aggressive musical project. Together, they recorded a 5-song demo CD under the guidance of the eminently talented Producer/Engineer DINO ALDEN, who had worked with Zero Hour on all of their material. Alden, having finished work on MARTY FRIEDMAN's (ex-MEGADETH) newest solo album, gave the 5 songs an impressive professional shine. The packaging and artwork were completed by Graphic Designer extraordinaire TRAVIS SMITH (SKINLAB, NEVERMORE)., who also had done the reissue packaging for Zero Hours METAMORPHOSIS. The songs have already generated a local buzz, having been played on local radio stations (KSJO's Home Grown, KITS's (Live 105) Local Lounge, KSCS College Radio and KSJS College Radio).
DEATH MACHINE quickly decided to test their songs on the local Bay Area club scene to an overwhelmingly enthusiastic response from both younger audiences listening for newer heavy hands and those fans demanding a bit of instrumental know-how from their musicians. The band realized they were on to something and didn't want to relinquish their hold on the burgeoning creative well springing up between them. Shortly thereafter, they recruited the somewhat reclusive and little-known electronics guru, Elias. The band felt that the added element would allow the music both a chance to breathe and would further push the boundaries of musical expression. Elias was the perfect fit and 7 new songs were written in the course of two months of rigorous and edifying rehearsals.
The completed 12-song album that you have in your hands is the culmination of those songwriting sessions (with Production/Engineering courtesy of Mr. Alden) with the previous 5 songs added to complete the package. DEATH MACHINE feels they are only in the beginning stages of a musical endeavor whose dark expressionism and vivid emotional ambience are soon to be released upon the unsuspecting masses.