Stylistically labeled as a Gothic/Doom/Symphonic Metal album, Saviour Machine I is one true gem of an album that brilliantly avoids any classification due to the immense melodic richness displayed throughout all of the songs. And the lyrics have and openly Christian theme, sometimes dark and unsettling, sometimes expressing faith at full throttle, but never descending into trivial. Just to make things more spicy and interesting. A true bullet of energy crossing time and space on a long journey since 1993 just for the eyes and ears of the modern day Metalhead.

First and foremost one should mention Eric Clayton’s vocal performance ranging from low baritone to high tenor that is the cornerstone of the Saviour Machine sound. Whether climbing high mountains of pathos or diving into pits of graveness his voice is emotionally charged with both suffering and reverence at the same time making it hard to distinguish which one comes first at what moment. On a second layer of the listening experience comes the bass section. At times the drumming is rather conventional seeming like it’s just there to keep the rhythm, but when given space it unfolds into old school – think early Black Sabbath and The Who - bursts of self-awareness. The bass guitar sound is particularly clean and stands out from the crowd of instruments especially in the fast paced sections of the album. Depending on the song the rhythm guitar also joins this layer to emphasize clear-cut heaviness worthy of the best of the best in the Heavy Metal genre. The third layer is one of exquisite melody equally shared by the lead guitar and the non intrusive keyboards; it shines at different times through the lightness of the staccato, through the mourning-like sound of the slur, through the elaborated solos and through the Jarre-esque or symphonic piano arrangements. Musically one of the highlights of the album is the ending of the song The Killer where the band achieves the exceptional performance of turning a piece of Carmina Burana into atonal music by overlapping it with complex arrangements.

There is something for everyone on this album. As far as the Gothic side of the album is concerned you should lend your ear to Carnival of Souls, Legion, Son of the Rain, Killer – assorted with some nice Oriental sounds – or The Mask. If you’re into heaviness and Black Sabbath in particular you should definitely consider Force of the Entity and The Widow and the Bride. For Doom fans out there with an inclination for symphonic anvergure there is A World Alone, The Wicked Window and even Jesus Christ. What an irony:) Enjoy!