‘BODY TRANSMISSION’ displays MAQUINA.’s evolution into an even grittier and heavier sound
The band’s third album somehow crosses the border between dance and hard rock, creating a metal-fused masterpiece.
★★★★½
Photo: William Anthony
MAQUINA.’s BODY TRANSMISSION opens with dança, the only track on the album to include a feature by Dame Area. I was unfamiliar with the duo before listening to BODY TRANSMISSION, but after hearing the song they featured on I decided to give a couple of tracks from their own discography a listen, and thoroughly enjoyed the kind of tribal-inspired electronica I was presented with. This style very much carries over onto dança, with a consistent snare, a grating guitar riff, and Dame Area’s vocals layered over each other, providing the track with such a great amount of depth that only seems to build with each drop on the track. I can imagine this going down incredibly well in a club (as well as a mosh pit), and am loving this fusion of juxtaposing genres — a sort of style which MAQUINA. keeps up throughout the whole album.
4-to-the-Floor follows, opening like a typical dance track with an up-tempo beat, before fading out only 20-seconds in, and being replaced by a loop of a deep guitar riff. Distorted vocals kick in, recalling the title of the track in an almost not quite-human way. The vocals almost act as a bassline for this part of the song as the notes are just so low. Something to be noted about BODY TRANSMISSION is the way that each song evolves in it’s own way – which is something I’ve grown to love about dance tracks in particular – and MAQUINA. follows this idea, making the best part of the songs explode into the final 30 seconds of each song, keeping the listener hanging on for the entirety of the track, no matter how long it is.
Speaking of long tracks, collapsing appears next on the tracklist, and coming in at over six-minutes, every single second is worth listening to. With screeches that are almost reminiscent of Gurriers, the track takes on a more classically heavy approach, while still keeping that danceable tone. All I can say is that Halison Peres’ voice must have been particularly hoarse after recording this. The vocals are relentless, but it fits perfectly with the instrumentals behind them. I loved collapsing, and have found that this is a song that I just keep coming back to.
Agony seems to take on the opposite end of the rock and dance spectrum MAQUINA. lands on. A much more upbeat and catchy drum pattern laying at the heart of it makes it almost irresistible to dance to, while the sheer heaviness of the instruments keeps that more gothic feel. The beat drop towards the end of the track is incredible, and I can see this being a highlight to see live from the band.
The next track, bizarro, follows a similar pattern. Also being one of the shorter songs in this album, none of the three-minute track length is left to waste, each moment used to cram in as many beat drops and guitar riffs as possible. The guitar is a particular stand out for me, almost acting as vocals in its own right, with its screeching sound piercing through the intensity of the instruments. Towards the middle, bizarro breaks down to just a thumping drum beat and those distorted vocals before the snare kicks in, creating a higher tempo, and the track eventually boils over into an even more extreme version of the chorus.
Coming in at 27-seconds, valve works as a kind of interlude, the listener is faced with distortion and an almost ambient-like buzz before it smoothly transitions into simulation. Having a fully instrumental track was definitely a great idea from MAQUINA. It allows their skill to fully shine on this album, drawing attention not only to the musical capabilities of each band member, but also their talent for structuring longer tracks, which keep the listener on the edge of their seats — even without a vocal hook.
step on me brings in vocals again. Although the instrumental itself is awe-worthy, MAQUINA. have nailed being able to create tracks so layered and interesting sonically that they would function excellently even without the use of the vocals, but they serve to enhance an already amazing track. The penultimate song, out of fear, leaves us on a heavier note – although the use of electronica doesn’t go unnoticed – as the track dims down to just a bassline and then rebuilds itself, before catalysing right at the end.
pressure/pleasure ends BODY TRANSMISSION on a much more electronic note, though not without its more rock-inspired moments. This kind of track feels like the perfect way to round off such a fantastic album, it’s much more ambient than the other tracks, and feels more like something you’d stumble into at a cramped club in the early hours of the morning — and dance away the night to.
