Time Machine is an appropriate name for an Italian band that has given us many years of quality progressive metal. Many don't know that Time Machine has been around since at least 1993 when their first disc Project: Time Scanning was released. The band was originally formed in 1992, and around that time, progressive metal was virtually "unknown" other than Dream Theater, Fates Warning and Queensrÿche. The band is the brainchild of bassist Lorenzo Deho, who has managed to keep the band moving along through the years with many lineup changes, musical styles, ideas, and even sound styles. Let it not be said that any Time Machine disc sounds like one before it or after it. Each disc has its own personality - its own life. To compare the band to another would be unfair. Time Machine is an entity -- an ever-moving, ever-growing entity of progressive music that tells a different story upon each release. Time Machine is also a band dedicated to its fans; a band that talks to its fans, listens to its fans and interacts with its fans. Time Machine is not out to follow trends, make history, or try to "satisfy" anyone. Simply put, the band puts out quality progressive music with each release and has a steady stream of growing fan base, and has earned the respect of progressive music lovers worldwide with their tenacity and desire to create progressive music continually despite trends. Here is one fan's / reviewer's tribute to a band that has withstood the test of time, as the band name signifies, and to show that there are bands in the world who are committed to their music as well as their fans.

Project: Time Scanning (1993)

Line Up:
Lorenzo Deho - bass, rhythm guitar, backing vocals, keyboards
Ivan Oggioni - rhythm guitar
Andrea Ruggeri - lead & backing vocals
Roberto Gramegna - keyboards
Roberto Pesana - drums
Tony Priolo - guitar solos

It is quite obvious by reading the credits, that this disc was certainly a PROJECT as the title suggests. It appears that Lorenzo Deho, founder and creative mind behind Time Machine, had a vision, and surrounded himself with some musicians, and set out to release the first Time Machine disc. Other instruments were played by a variety of musicians listed in the credits, but three of those listed above seem to be the "core" of the band at that time. When I first heard Time Machine back in 1994, I immediately thought to myself, "sounds like Rush influenced," but I was quickly corrected, as the disc played on. I could not think of a band that sounded like this, and wanted to know more. The production is not that good here, but to the progressive ear, it was easy to hear that something special was going on with this band musically. They were not heavy as far as metal goes, but the guitar sound was unmistakably metal in its style. The music was made up of many time changes, tempo changes, and full of eerie atmosphere as created by the keyboards. The songs were listed in chapters, which I found to be interesting, and there are a lot of references to religion throughout the disc. The music is split up in sound between the vocals, guitars and keyboards; no one single instrument dominates the sound. It is a cohesive unit, one that tells a story, not one that is meant to be shown off or displayed. The music is melodic, dark, atmospheric, and requires reading of the lyrics to fully understand and appreciate what this band is all about. The disc will not win any awards for musicianship or sound, but it a true progressive metal was born with the release of this disc.

Tracklisting: Back Across The Centuries / 753 A.C. Ab Urbe Condita / Holy Man / Lover's Night In Venice / Medieval Lady / Past And Future / History / Bonus Tracks*: 753 A.C. Ab Urbe Condita (instrumental version) / A Nightmare (gothic edit version)

[*It was reissued in 1999 with these bonus tracks. -ed]

Dungeons Of The Vatican (1993)

Line Up:
Lorenzo Deho - bass, keyboards
Joe Taccone - guitars
Ivan Oggioni - guitars
Mirko Criscione - keyboards
Jonathan Lavino - vocals
Fabio Brigliadoro - drums

This is a 3-song limited edition EP that I thought was meant to be shopped around by the band to find labels to release their discs. I wanted to say that this was the actual first release by the band, but because Joe Taccone is in the lineup (he has been a mainstay since), and the disc was released on Lucretia Records (Lorenzo Deho's label), I'm assuming that this was released after Project, as it contains songs from Project, as well as the next release, ACT II: Galileo. This was originally a special limited edition for Japan and only 500 copies were pressed.

Tracklisting: Dungeons Of The Vatican / 753 A.C. Ab Urbe Condita / Medieval Lady

Act II: Galileo (1995)

Line Up:
Lorenzo Deho - bass, keyboards
Ivan Oggioni - guitars
Joe Taccone - guitars
Folco Orlandini - vocals

This is the disc that Time Machine is best known for in the progressive metal world. The basic concept was the inquisition of Galileo Galilei, and the subsequent prosecution of him by the Holy Office, condemning the freedom of intellect and superior value of individuality. A suitable metaphor considering the type of music this band plays. Some say that this is one of the most creative discs in prog history -- extending the boundaries of progressive metal, and by-passing all of the clichés and forethoughts of what progressive metal was all about. The disc is totally atmospheric, dark, brooding, and creatively written. With tons of tempo changes, stops, and filled with occasional inserts of religious choirs, the disc is a slow moving story of Galileo and his downfall at the hands of the religious leaders of the time and their ignorance. Cut into musical chapters, the band portrays Galileo from his journeys to his prosecution. Folco Orlandini, undoubtedly a fan favorite among Time Machine fans, brings the story to life, and the Time Machine sound is born with this disc. Led by eerie keyboards, guitars, and the "mysterious" vocals of Folco, it's hard to argue that this is Time Machine's legacy disc, one that is revered by the progressive world. Put this disc on at night during a cold rainstorm and you'll be sucked up into its realism instantly. Creativity at its best. Here is what I wrote about the re-mastered edition that is available:

Time Machine - Act II: Galileo

"On June 22nd, 1633, the Inquisition in Rome read the sentence that condemned Galileo Galilei, guilty of heresy, to imprisonment. Galileo, at the age of seventy, was humiliated by being forced to disavow his studies and far-reaching achievements to which he devoted his entire life."

This is a partial summary of the life of Galileo as given to us in the disc booklet by the great Italian progressive metal band, Time Machine. It was written as a prelude to the actual lyrics of Act II, a story about the condemnation of Galileo by the Holy Office and the oppression of individuality during that time. Act II: Galileo is a progressive metal feast of such a concept, incorporating a virtual booklet of lyrics to go along with their particular style of presenting such a story musically. Time Machine can be proud of the fact that Act II is a disc that stands alone on its own merit, not paying homage to any other band that would allow anyone to call them a clone or a copy. In a genre that sometimes betrays itself and becomes the victim of countless, frustrated fans that yearn for something so different, every band has the undaunted task of trying to create an identity that will free them from the very concept of progression that they stand for.

In the case of Act II, Time Machine has proven that such a feat can be achieved with intelligence, patience, and artistic vision.

Driven by the conceptual vision of bassist Lorenzo Deho, who has a hand in just about everything that is Time Machine, including artwork, song writing, production, etc. heavy keyboards, dark guitar sounds, tempo / time changes galore, Time Machine throws just about every aspect of the definition of "progression" into every song, which never sounds the same as a previous song on the disc. Personally, I deem this one of the "true" progressive" metal discs of the time, and easily one of the finest Italian prog metal discs ever created. It does contain some of the finest, darkest atmospheres ever put down on disc without depressing the listener. It is easy to hear how persecuted Galileo was just by listening to the dark, menacing music without even hearing the lyrics. The lyrics are presented by Folco Orlandini, who possesses a voice more than capable of bringing these dark lyrics to life. His voice is a pleasant mid-range, which never strays out of his range, and sings convincingly with the least amount of an accent, which sometimes plagues Italian vocalists.

The disc has been re-mastered by Lorenzo Deho, and the sound is much more even here than on the original, which was very good to start with. The sound is more full and rich now, and the drums really stand out. A second bonus disc has been added with 3 songs, for the same price as the single disc. One of the true "absorbing" discs, it takes many long nights of thought and reading to uncover the entire spectrum of what this disc is all about, but then that's what makes progressive metal so appealing to fans of the style, and Act IIis a must for any progressive metal fan.

[Review originally published here October 2000 -ed.]

Tracklisting: A New World / Guilt / Regrets / The Holy Office / The Old World / A Nightmare / Nightly Visions / The Trial / Pain

Shades Of Time (1997)

Line Up:
Lorenzo Deho - bass, keyboards
Joe Taccone - guitars
Ivan Oggioni - guitars
Nick Rossetti - drums
Morby - vocals
Stefano Della Giustina - tenor sax

Arguably Time Machine's heaviest release to date -- and I remember writing that I didn't like their approach at trying to sound like Fates Warning at times. The vocalist during this time, Morby, didn't leave me with many memories at the time as well. Traditionally, Time Machine used softer, higher pitched singers, and Morby had a less inspiring voice than any other singer. The "Time Machine" sound was not apparent on this disc (an EP), opting for a more modern metal sound, but confirming the fact that Time Machine is not out to follow trends or signature sounds. This disc is their most "metal" disc to date, including a cover version of Black Sabbath's "Heaven And Hell." The twin guitar attack sounded good and was done quite well and we wondered which direction Time Machine would head in after hearing this disc. I believe that had the band chose to stay in this direction, they would become any other "ordinary" metal band, but as luck would have it, and much to the joy of TM fans, the next releases would tell the story.

[This was reissued in 1999 with new artwork, the first image shown here, and bonus tracks -ed.]

Tracklisting: Silent Revolution / 1,000 Rainy Nights / New Religion / Heaven And Hell / Never-Ending Love / Past And Future (1997 version) / Bonus tracks: Past And Future (1993 version) / Never-Ending Love (1998 version)

Secret Oceans Part 1 (1998)

This is a 3-song EP containing a song from Eternity Ends, Shades Of Time, and Act II -- all performed in various "versions" except for "Mother" which was the actual version. The disc was a teaser for the upcoming Eternity Ends disc.

Tracklisting: Behind The Cross (ocean version) / Never-ending Love (1998 version) / Mother (album version from Act II)

Eternity Ends (1998)

Line Up:
Lorenzo Deho - bass
Joe Taccone - guitars
Nick Rossetti - drums
Stefano Della Giustina - keyboards, sax

This is the disc that put Time Machine in many a CD player. Arguably, it's their best disc depending on which school of thought you subscribe to. Bringing in yet another singer, changing their style once again to a more traditional melodic metal based sound mixed in with signature Time Machine progressive elements, and this disc is definitely one not to be found far away from my player at any given time. Here is the review I wrote on this disc when it was released:

Time Machine- Eternity Ends

The boys are back, and in top form on their newest disc, which hasn't left my CD player since its arrival. After putting out an EP that didn't do much for their reputation, called Shades Of Time, they've fired back and have released one of the better symphonic prog metal discs to start off 1999. Time Machine is probably one of the more progressive Italian bands on the circuit today, and most will remember their controversial-yet-incredible concept disc called Act II: Galileo which was met with as many negative responses as positive ones, although I agree with all of the arguments for both sides. Along with some of the more controversial religious bashing going on in the lyrics, most either had a problem with the tinny production or the dark, brooding atmosphere of the music, which to a prog lovers delight, never stayed still or consistent for a moment. Hoping for something even more tantalizing, we were treated to a less-than-welcome EP called Shades Of Time which showed some lineup change, most notably the Act IIsinger, and a new style with the band trying their best to a Fates Warning imitation that failed miserably. It didn't stop the band from bouncing back and releasing a long awaited monster of a disc.

THE STYLE:

If you were expecting Act III : Galileo, you will be very disappointed. The music is worlds apart from that particular style, yet somehow the band manages to capture the moody, dark atmosphere and some of the softer passages remind of Act II, but for the most part, the band has gone into a more melodic, catchy, riff happy style, and they throw in some interesting prog moments using Spanish style acoustic guitar work, congas, even some saxophone along the way. It's a great mixture for those who like their prog, but like it melodic and atmospheric at the same time, and I can't think of an Italian band that does it better than this band. One moment the band is making it's way through some quiet, soft, acoustic-with-string passage, and the next moment the band is starting off with a familiar but killer riff to signal the start of the next song. To be so bold, it almost sounds like some 80's style melodic metal mixed in with signature Time Machine. The riffs are super melodic and catchy, yet the atmospheric / symphonic keyboards that hold the base sound together sound super gloomy at times, and you don't know whether to feel good or feel bad about the music, it has a two-way effect on the senses. The band also makes good use of bass pedals to enhance the lower end of the sound, giving the overall sound a huge bottom end that will shake some walls during those passages (subwoofer users beware). For me personally, this is the ultimate in Italian Prog Metal sound; the band has an uncanny way of fulfilling everything about melodic prog metal that one can ask for; melodies, accessible riffs mixed in with progressive maneuvers, low bottom end, gloomy yet epic keyboards, straight ahead metal, soft acoustic passages, excellent lyrics, convincing vocals, this disc has it all ...

THE BAND:

Joe Taccone / Guitars
Nick Rossetti / Drums
Nick Fortarezza / Vocals
Lorenzo Deho / Bass
Stefano Della Giustina / Keyboards, sax

Comparing the lineup from Act II: Galileo, the band has dropped one guitarist, and held onto Joe Taccone, a wise move indeed. Joe is one of more "contemporary" Italian prog guitarists. He sounds like he wants to really rip it up on the fret board, and he does, except that the production holds him back just a bit as we will see later on. Overall, he has a similar style many German guitarists who play melodic metal in modern day prog. Lorenzo Deho is back on bass, and holding down the low end in a most interesting fashion; he is one of those bass players that can hold his own side of the band down without having to follow the guitarist note for note - kudos to Deho who writes most of the music, giving himself some great bass chops along the way which you can hear clearly. Up next is Rossetti, who has replaced the Act IIdrummer. The Act II drummer, Antonio Rotta was a very capable progressive drummer; having to keep time to Act II was a feat in itself. Rossetti is a more straight ahead drummer, as the music dictates, and through his more proggy parts shows himself to be more than a competent counterpart. Giustina has replaced Deho, the current bass player who handled keys on Act II. Used more for background and atmosphere, Giustina treats to a host of string, piano, flute synth, and other keyboard sounds to create the gloomy, atmospheric base that adds a great sense of depth and size to the music. Nick Fortarezza, the singer, gets his own section below.

THE VOCALS:

Stop here and move on to another disc if you don't like singers with accents, especially Italian singers with accents. Nick Fortarezza has a particularly thick accent, and either can't hide it or chooses not to, but I will say that I am a big fan of accents in my prog metal, and have no problems with them as long as they sing well and with conviction, and Fortarezza does both. He has a mid-range voice, and it sounds like he has a natural high tone to his voice as he pretty much stays within a mid-range throughout the disc. He goes high just a couple of times, but when he does, you can hear the limitations of his voice, but never detracts or leaves you feeling irritated. The guy sings with as much conviction as any Italian singer I've heard; you can feel that he feels the music, the atmosphere, and with the lyrics being such as they are (I'll allude to that later), he needs to sound convincing and he does. He does some vocal harmonies here and there and blends well with himself. Overall, a very competent and commendable job bringing this great music and story forward - and in the end, it's the conviction in his voice that wins me over.

THE PRODUCTION:

I like most parts - I dislike some parts. On the whole, it sounds great, but when I listen to the individual pieces, I wish for a bit more in the tweaking of the buttons on the sound board. The drums sound good, just a bit back in the mix, and even the snare drum sounds believable, which always bring a smile to my face. The keyboards are well done too, placed just right in the mix and sounding clean and convincing. The vocals could be brought up just a bit but sound good as is, considering that the guitar and bass are a bit out of sync with the rest of the sound. It won't be easy to understand every word that Fortarezza says, and it's not because of the production, but because of his accent mixed in with some of the stranger vocal lines. The guitar sound is a bit muddy, and holds back Taccone from sounding the way he obviously wants to. While you can "hear" the guitar, you can't "feel" it, and you are feel left trying to turn up the volume a bit, but it just won't cut it - someone needed to add some substance to his bottom end to give him that believability that he is a contender guitarist - and he is - he was just shortchanged on some of the sound, and with a more ballsy, crunchy push, this disc might have even appealed to most pure metal heads. Prog heads are used to this syndrome, and even though we don't welcome it, we love it for what it is ... my biggest problem comes in the bass dept. Deho wasn't shortchanged for sounds, he was actually given a bit too much - as in if you use a subwoofer like I do, forget it. The bottom end is so muddy, the low sounds just spill out into the room and covers the entire sound of the music. It acts more like a blanket than it does an enhancer - those sounds are left to the bass pedals, which actually do sound great when the walls are rattling, although you probably won't get to do that much because you will want it turned off during this disc. The bass itself coming from your speakers will do the trick nicely, and it's less exciting when you have to "tone it down" in order to get the accuracy, but nonetheless, I miss the subby ... It is just not an accurate, solid bottom. Other than that, the disc does sound very good and it's worlds above acceptable.

THE LYRICS:

I never go here ... this is the most subjective and self-interpreting aspect of music, so I never go in this direction; however, given the nature of them, I thought I'd say a few words as I know there are many who take their lyrics seriously and those who will shy away from certain lyrics if the right subject comes up. The disc has a VERY religious theme - not in the preachy sense, but they do deal with how Jesus felt as he was being crucified, as in his personal thoughts to mankind, how futile his attempts to save man were because of our ignorance, how he questions his own existence in having to save man in the first place - it's a very sad, convincing story that might offend some if you question their interpretations of how Jesus felt at the time of his death. His pain , his suffering, his thoughts, his attempt to carry on are all part of the story line - so be forewarned.

THE COMMENTS:

I can't get the damn thing out of my player - it warms my heart to see a band come out and kick some serious prog metal butt after putting out what many believe to be a masterpiece, Act II: Galileo... I thought all hope was lost after their EP Shades Of Time and I'll admit I was weary of buying this blindly. Always having faith in prog metal, I plunked down the cash and the disc has gotten more than its share of the value at this point and it still stays in my player and is played daily. Anyone into Italian, symphonic prog metal will drool all over this disc - it's played with so much conviction, you wonder what the hell goes on between the scenes while bands like dormant for so long. If you're looking for Act III, forget that, but do not abandon this disc because of that. The disc still has its Act II darkness and quirkiness, but melodic metal has been put in front as the driver of this sound, and mixed in with the Time Machine signature symphonic sound, they have created one hell of a disc, and I highly recommend this disc to anyone who loves melodic prog metal ... look for Andre Matos (Angra) to appear in credits on the writing of one the songs...it even has that Angra feel to it ...

[Originally published July 1999 -ed]

Tracklisting: End Of Darkness / Falling Star / I, The Subversive Nazarene / Hidden Pain / Eternity Ends / I Believe Again / Desert Of Souls / Behind The Cross / Sphynx (The Witness) / When The Night Surrounds Me / Pilatus / Dark Again

[The South American version featured three bonus tracks: Never-ending Love / I Believe Again (with André Matos) / Sphynx (The Witness) (demo version) -ed.]

Secret Oceans Part 2 (1994)

This is a 2-song EP released after the Eternity Ends disc, and features André Matos (ex-Angra) performing the vocals on "I Believe Again." André Matos, while in Angra, and now in Shaman, is a label mate of Time Machine, and appears not only on disc with them, but has also shown up on stage with the band as well.

Both EP's have the lineup as stated in the Eternity Ends review.

Tracklisting: I Believe Again (ocean version w. André Matos) / Behind The Cross (radio edit)

Hidden Secrets (2000)

Line Up (at time of release):
Lorenzo Deho - bass
Nick Fortarezza - vocals
Nicola Rossetti - drums
Joe Taccone - guitars
Stefano Della Giustina - sax and keyboards

This is a specially released 2-CD set as a tribute to the Time Machine fans. The discs contain songs from the Time Machine discography up to this point, including live performances, bootlegs, re-mixes, original recordings, and songs not found on any Time Machine disc. An incredible tribute to the Time Machine fans from an incredible band. Essential for Time Machine fans, and certainly a collector's item. Here is what I wrote about the disc when I received it a couple of years ago:

Time Machine - Hidden Secrets

The band from Italy that never ceases to change within their own style, and continually releases quality prog metal between 7 full length discs and EP discs releases yet another surprising disc on the prog metal world. Consisting of 2 full length discs, the band gives us 26 songs from across the time span of their music from beginning to present, in the form of live tracks, bonus tracks, demos, and varied versions of the original songs complete with the original members who were in the band at the time.

In addition, you get complete lyrics to all the songs, written meanings behind the songs, the members in the band at the time along with the great artwork and CD booklet that Time Machine is known for. I believe some of the songs are re-mastered specifically for this disc, compliments of the great Time Machine bass player Lorenzo Deho.

There are two ways of looking at this disc:

One is that the band is releasing this as a gift to their fans, and is proud of the music they have created over the years that fans didn't get to hear...

The other, and hopefully not, is that the band is releasing its final disc as Time Machine and giving their fans one more shot at hearing what is left of their great music. This would certainly be a shame as I've considered Time Machine one of the premiere Italian Prog Metal bands that have contributed greatly to this genre on a personal and a professional level.

As far as I know, the only way to get this disc right now is through the band, or through Century Media who is distributing the disc in the USA. This disc is essential for not only Time Machine fans, but for fans who want to know what Time Machine has been all about over the past decade.

[Originally published September 2000]

Tracklisting: Disc One: Riot In The Colonies 753 A.C. / Stargazer / I Hold The Key (Into The Void) / Eternity Ends / Silent Revolution / Behind The Cross / I Believe Again / 1,000 Rainy Nights / Falling Star ... mixing ... I, The Subversive Nazarene / Past And Future / Mother / Dungeons Of The Vatican / White Collars
Disc Two: Will You Remember / Burning In The Wind / Desert Of Souls / Sphynx (The Witness) / New Religion / I Hold The Key / Prisoner Of Dreams / Never-ending Love / Virgin Of The Temple / Love Without Sin, Pt.1 / Obscure Medieval Lady / Earth's Dawn (History) / Hidden Pain

Khali - Khali (1999)

Line Up:
Lorenzo Deho - bass, keyboards
Folco Orlandini - vocals
Joe Taccone - guitars
Nick Rossetti - drums

Lorenzo Deho wanted to create a melodic metal disc something in the Queensrÿche-influenced style; sort of a break from the progressive metal machine he'd been riding on for so long. He recruited Act IIsinger Folco Orlandini, and other members of Time Machine and created the side project called Khali.

Indeed, the result was a nice blend of mostly melodic metal with some progressive elements compliments of Time Machine's blood. Most people who have heard the disc likened it to Queensrÿche's Empire, and although that is at least right in the influence dept, I believe it has to do more with the guitar arrangements than anything else. It was a pleasure to hear Folco return to the watered down version of Time Machine, and of all the TM singers, Folco has the least amount of accent in his style and pronunciation. When Lorenzo gave Claus Jensen (Intromental Management) our first listen at the music, here is what we wrote about it:

Khali - Khali

It's interesting to see different bands playing in side projects, and members from bands doing solo projects, or even remnants of one band becoming another band. Such is the case with Khali. Khali hails from the remnants of Italy's Time Machine, minus the keyboard player and sporting singer Folco Orlandini, who sang on Time Machine's brilliant prog metal concept disc, Act II: Galileo. The closest comparison I can make of the two bands would be something akin to the sound of Time Machine's Eternity Ends to the melodic song structures of Queensrÿche's Empire. The obvious production skills of one Lorenzo Deho (Khali, Time Machine bassist) make this disc sound similar in tone to Eternity Ends, and the melodic song structures and twin guitar harmonies really make a lot of this sound like a less heavy, yet still accessible version of Queensrÿche's Empire. It's definitely more straight-ahead than any Time Machine material, and this was the intention of the band, not to sound so progressive as Time Machine, but to be as heavy and more accessible. The result is exactly where the band wanted to go with this project.

The band consists of: Lorenzo Deho / Bass, keyboards
Folco Orlandini / Vocals
Joe Taccone / Guitars
Nick Rossetti / Drums

If you have heard any previous Time Machine, then you know what these guys are capable of. Although the Khali music isn't as progressive as TM's music, the guys still have a chance to strut their stuff in a more melodic approach, yet still manage to maintain some nice heaviness due to the solid bass punch and production mixed in with the clean and harmonized guitars. Keyboards are kept to a minimum, popping up here and there as strings when needed in various places that need accenting. The drums are as solid as they are on a Time Machine disc. Nick Rossetti gets a chance to relax and take things more in stride on this disc and play in a more straightforward style. The bass, as always, is kept clean in the mix so as to be able to "hear" the bass lines as well as feel them. This is due to the obvious attention to detail that Lorenzo Deho puts into his sound. The guitar is the standout sounds here, being the driving forces of the sound, and is placed well up into the mix precisely and clean. The vocals are placed nicely in the mix too, making it easy to hear the words of each song, thanks due mostly to the accent-less style of singer Folco Orlandini. Even when the music starts to get hard driving and thick, the vocals are clear every step of the way - excellent job in the sound dept here. Lorenzo Deho has always had a hand in making great sound for Time Machine, and he has taken some of his ideas from that experience and used them to his advantage here as well.

Folco Orlandini gets to sing in a different style here. The last time you heard him singing was in a band called Mesmerize, and before that you could hear him belting out one of the better prog metal discs on Time Machine's Act II: Galileo. Here he gets to sing lyrics in a more accessible style, using his high-pitched voice and style a little less to carry the lyrics forward. His almost accent-free, operatic, clean voice really helps to complement the melodic approach of Khali. The best example of what he can is on the epic "Wind Of Change" found on the Khali disc, in which his voice is used in a variety of ways, from layers of harmonies, to single voice, driving to soft, convincing to desperate. Some people have compared his voice and style to Geoff Tate, but I think that comes from his higher range tone than anything else.

Khali has come up with a real winner here. If you like Queensrÿche's Empire, you're sure to like what Khali has done here. It's not quite as heavy as Empire, but the song structures and guitar layers conjure up memories of Wilton & DeGarmo in their prime blasting out tunes from Empire, which Joe Taccone has pulled off nicely here. While pure metal heads may say the music is too light, and pure prog heads may be screaming for more Time Machine, those who don't mind a nice balance in between the two will have a blast with Khali. It's almost refreshing to see a band trying to find its way through the much and back to the fun part of metal, when it was plentiful on the radio and everyone had a chance to enjoy it. I believe Khali may be the band to bring back the "fun" and accessibility in this type of music.

KHALI: by Claus Jensen and Larry Daglieri

THE STYLE:

Melodic metal with slightly progressive parts injected throughout.Best described as a Millennium version of Queensrÿche's Empire disk, without being a real "rip-off." The "Italian" metal element is however obvious as well, and the combination of the two genres, (Italian epic metal & US melodic semi-prog) makes it a real gem. A melodic / semi-progressive approach to metal in the vein of Queensrÿche's Empire with an emphasis on melodic.

THE SONGS:

Each of the songs are a little concept album in their own... most of them deals with spiritual input in today's life - thus giving the album an over-all concept. First song "Cyberpleasure" is introduced by the sound of a phone line hooking up to the Internet, and already there you know that this song is based around the importance in our life-time of being on the 'net. Basically this is a love-story taking place in "cyber-space", but also shows how people have found the 'net to work as almost a spiritual guideline. Almost too true to life. A very rhythmical song, with a great pounding bass line and soft guitars to put the listener into the melodic spirit of the album. Somewhat reminiscent of what QR did with "Jet City Woman" off their Empire album.

"Another Day" is a bit more metallic than the first song, and thus reminding more of the typical progressive Italian metal, that we've become used to over the past couple of years. Lyrically a bit spiritual, as it deals with whether or not being able "to make it through the night and to see another day." This song is one of the more "dramatic" sounding songs; what comes to mind immediately is a sense of intensity and urgency. The synthesized / processed vocals give this song an added depth as well. "Somebody Haunts Me" starts up with a more up-tempo riffing, but quickly slows down as the vocals set in. Again, a spiritual based song. The song has a great melody both through the verses and the refrain, with nice guitar-riffs and a pounding drummer. The most "commercial" sounding song on the disc, it reminds of the changes that Queensrÿche experienced on Empire when they switched from the heavier songs to "Another Rainy Night" style. Interestingly enough, the sound is still somewhat heavy despite the obvious catchiness at first listen. "Wind Of Ages" is a double-headed song - or more accurate, an epic song divided into two parts with an underlying lyrical theme running through both. Starting off with a choir, sounding a bit "ancient" then followed by a very cool guitar-riff. One of the more "spiritual" songs on the disc, and the one that most represents the Queensrÿche influence. When the keyboards set in they have that violin-effect that gives it an even more symphonic/epic feeling. The choirs continue. The vocals are done in a soft, yet heavily layered, way, adding to the dramatic feeling of the song. Lyrically this song is about life in general - how we look upon life in the big picture and seeing life run through "the hour-glass" day by day... The solo-section in "W.O.A. part I" is really fantastic - not too much "wanking", but more following the melody of the song. "W.O.A. part II" is a ballad-esque continuation of "...part I", with more of the great choir-orchestration and gives a very warm ending to the song.

"Spiritual Distortions" is again a more heavy oriented song, with typical - also this is the grooviest song of the album, with a perfect rhythmical based refrain. The lyrics says that we all have an empty gap inside of us, and one of the ways to "fill that gap" could be to use some "spiritual distortions".

"Heaven Again" continues in the "heavy" vein, with its metallic intro-part with the screaming guitars that also is to be found in other Italian bands like Time Machine, before the vocals set in on top of a pounding bass-rhythm. The harmonized keyboard/guitar part at the end of the song is a typical Queensrÿche-thing - putting the listener into a trance-like state before going back into the highly memorable refrain. The choirs at the beginning of the song give it the eerie feeling that the title denotes, and then turns into one of the more progressive songs on the disc. Nice rhythmic changes throughout without losing the sense of direction and then suddenly turning into a catchy chorus before shifting back into the signature sound, a mixture of melody and progression.

"So Far Away" is the final song of the album, and again it's a very rhythmical song, with a nice melody. Distorted vocals are again used to give an extra special effect to the song - perfectly attached to the lyrics as giving it almost a "crying" sound... another song that sounds "urgent", and the lyrics are really brought to the surface here in a sense of futility, as if the singer has lost all hope. The short solo-piece is a clean guitar solo moving on top of the melody of the song.

THE INSTRUMENTATION:

It's pretty obvious that we are dealing with experienced musicians who are not only skillful players but also very talented musical composers.

All music has been written by the bass player, thus making it a very rhythmical album. "Rhythm" is the essence of this album.

Vocals: The vocalist is a typical Italian singer, meaning high-pitched and with a heavy, but never annoying, accent. His vocals are really expressive and bring great feeling into the songs. He sings with a sense of urgency that is lacking in a lot of bands these days. Part of the overall enjoyment of music is hearing the lyrics brought to life, and this singer really puts his soul into the songs. Keyboards: ... are done in a slightly "under-done" way, i.e. never used as a pure lead instrument, but more as a soft back up for the rest of the music. Definitely NOT typical for an Italian band, where the keys often are very symphonic and huge sounding. Although the keys are back in the mix, the eerie sound of the strings brings an eerie and dramatic feeling to the music at precisely the right time.

Guitars: ... are never too soft, almost done in a groovier rock-way than the typical melodic metal way. Again, adding to the interesting and "different" aspect of Khali, as a band tries not to sound like everyone else. The soloing is always kept at a minimum but nevertheless done so convincing that you easily notice it's a great guitarist at work here.

Drums: ... almost sounding too computerized, as they follow the rhythmic parameters set out by the bass and guitars. Never going off on their own, and never playing too progressive; thus, not the most intriguing part of the Khali-concept, but definitely well done.

Bass: The bass is the leading instrument on the album - not as a soloing instrument, but more as the real "music-maker" of Khali. Tons of great bass playing is put into the album.

THE PRODUCTION:

The sound is heavy and full - not over-produced as a lot of today's melodic/progressive albums tend to. More raw-sounding and almost done in a rock-ish way yet polished at the same time; a nice mixture of rawness and cleanliness. All instruments have their separate sphere in the sound of Khali:

- With the guitars done in a groovy/rhythmically way, not too dominant. Always melodic, never over forceful.

- The vocals at the front and rounded up in a soft and clear sound, unless the lyrics call for some use of distortion. Words easily distinguished for an Italian singer, clean and precise.

- Bass and drums are pulled up to support the rhythm-guitars and not used as typical backing instruments

- Keyboards are laid far back in the mix and are not that dominant; used for atmosphere

IN GENERAL:

The epic/symphonic elements in the music are created, not by the single instruments, but much more by the songwriting itself. The music is huge, well thought-out, and definitely "different" than what an album of today has to offer.

Through the very melodic and highly memorable songs, Khali might become a commercial success, and is exactly what the progressive metal scene has been craving for in years. The scene needs a band that can achieve commercial success, especially in markets where the often too technical prog-metal never stands a chance. The combination of melodies injected with the progressive rhythms should appeal to many listeners and give listeners a good variety of what they want in their music without taking away from any single aspect. If you enjoy the variety that Queenryche's Empire has to offer, you should easily like what Khali has to offer.

[Originally published June 2000]

Tracklisting: Cyberpleasure / Another Day / Somebody Haunts Me / Wind Of Ages Pt 1 / Wind Of Ages Pt.2 / Spiritual Distortions / Heaven Again / So Far Away

Aliger Daemon (2001)

Line Up:
Pino Tozzi - vocals
Joe Taccone - guitars
Gianluca Ferro - guitars
Claudio Riotti - drums
Lorenzo Deho - bass, keyboards

Time Machine releases another EP in which they offer various versions of existing music, or previously unreleased music. This EP consists of 5 songs:

· Eyes Of Fire (daemon mix)
· Army Of The Dead (daemon mix)
· Desert Of Souls (re-master)
· Will You Remember (Hidden Secrets remaster)
· Silent Revolution (original version)

What I find interesting about Time Machine is their continued EP releases in which they treat their fans to different mixes of their music, or previously unreleased music, or re-mastered / re-mixed music. Someday, I'm sure Time Machine will release a "greatest hits" package of everything we love about this band and have it all re-mixed and re-mastered. The 1st 2 songs come from Evil, while "Desert Of Souls" comes from Eternity Ends, "Will You Remember" is an unreleased track while "Silent Revolution" comes from Shades Of Time.

The above songs have had some makeovers, and they sound absolutely fabulous. They now have a thick, rich and full sound that will make your speakers sing with joy. As far as I'm concerned, any Time Machine release is worth having. My one wish would be that Lorenzo Deho re-masters Eternity Ends.

Tracklisting: Eyes Of Fire (daemon mix) / Army Of The Dead (daemon mix) / Desert Of Souls (re-master) / Will You Remember (Hidden Secrets remaster) / Silent Revolution (original version)

Evil (2001)

Line Up:
Lorenzo Deho - bass, keyboards
Joe Taccone - guitars
Gianluca Ferro - guitars
Claudio Riotti - drums
Pino Tozzi - vocals

"A ruthless battle between the forces of good and evil takes place in the year of our Lord 2001. Evil, via the web, aims to reach countless people, leading them to sin in order to possess their souls."

Just when everyone wondered where Time Machine had gone to, and what sort of disc could they come up with next, Evil appeared out of nowhere. When word got out that a Time Machine disc was in the works, anticipations rode high among fans. My first listen to Evil before the mastering astounded me, even in the sound dept, which was not completed. It was apparent that Time Machine was back, in a much bigger and stronger way. Lorenzo Deho had to find another drummer to replace the ailing Nick Rossetti, and also a new singer, which is standard for Time Machine. He produced the current lineup, added in a second guitarist, and threw in some guest musicians to round out the rest of the music. The result is once again something different than anything Time Machine has done in the past, and true to their style, did not create a Part II of any of their previous discs.

Evil sounds like a re-juvenated Time Machine -- an angry, expressive, powerful Time Machine. The disc has a "majestic" sound to it - a very symphonic, bombastic feel to it compliments of the various and rich keyboard sounds found everywhere on the disc. From church organs, to synths, to piano and more, Lorenzo obviously decided that he wanted a more orchestrated sound on Evil and certainly achieved that. Guest keyboardist Eddy Antonini (Skylark) shows up on track 4, and track 5 is a brilliant, keyboard driven instrumental which shows not only the great musicianship of the band, but also shows that they have not lost their love and flare for progressive music.

The guitars have been turned up quite a bit, and it's great to hear Joe Taccone finally ripping it up. Adding a second guitarist may have freed him up for more solos, something he hasn't had that much of a chance to do previously, and it works well. At times there is even a bit of dual guitars, which sounds refreshing.

New drummer Claudio Riotti is a bit of a double bass enthusiast, and fits well into this particular version of Time Machine, as Lorenzo has written a lot of faster, upbeat songs on Evil and the double bass is required here. This is also a change for Time Machine -- in the past, the song structures were built around either atmosphere or melodies. Now it's a combination of both, plus the addition of speed giving this the most "different" feel of Time Machine music to date.

The production is easily the best Time Machine sound to date. From the crystal clear vocals, to the "newly" heard guitar sound, to the thick pounding of the bass and drum mix, Lorenzo has produced a mighty sound here, all the while making sure that the songs are "heard" among the huge mix of instruments.

The new vocalist, Pino Tozzi, has a soft, pleasant Italian voice. Never let it be said that Lorenzo Deho is afraid of accents -- he has chosen singers with accents, soft and harsh to compliment the Time Machine music. In this case, he has chosen maybe the most accented singer of all TM singers, but probably the most passionate and clearest of all if that makes sense. In other words, even with his accent, the lyrics can be heard through most of the songs, maybe because of the great production, or the clarity of his voice, maybe a combination of both. His softer voice really provides a great contrast between him and the heavier style of music this time.

The music itself combines melodies of Eternity Ends; the signature progressive elements of Time Machine in general only a bit speeded up at times. It's got more raw power than the previous discs, and still maintains the atmospheric Time Machine we have known since the inception of the band. Each song has its own story to tell -- each with a different style and feel to it, with no two songs sounding alike along the way. The disc not only shows a different side of Time Machine, but it shows that there is much life and creativity left in Lorenzo Deho and Time Machine.

Overall, it's debatable which is the best Time Machine -- it's very difficult to choose a favorite disc from a band that continually releases quality discs, each one different than the previous and each one with its own special qualities. There is no denying that this is a special Time Machine disc, one that needs to be heard and absorbed much like every TM disc that comes to us. Evil is just another one of those quality discs released by a quality band that will not disappoint on any level.

Tracklisting: Gerona / Where's My Heaven? / Army Of The Dead / Eyes Of Fire / Ecclesia Spiritualis / Neghentropia / Evil Lies / Angel Of Death / Hailing Souls / Silent Bells

[See also Peter's review -ed.]

Upcoming projects for the Fall of 2002 include a new version of Act II: Galileo, and Lorenzo will be involved in a solo project that promises to be dark, operatic and progressive.

"Time Machine continues to defy the laws of progressive metal / music and releases quality discs at regular intervals despite the current trends and styles of the moment. The band is dedicated to the music and their fans, and it is hoped that there are many more years left in Time Machine as their name signifies. It is rare that any band, especially ones that are at a disadvantage, continue to thrive and create from the heart -- Time Machine is such a band, and it is hoped that the hard work and many years that this band has committed to music brings them much praise and success as they have brought enjoyment to their listeners. "

In 2004, they released Reviviscence (Liber Secundus), which Larry reviewed here

[Since this was first published in September 2002, the band is no longer, the record label is no longer and the band is no longer with Intromental Management, so those links have been removed (however, Intromental still exists and manages many metal/prog metal bands). -ed.]

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Published on: 2002-09-22 (2822 reads)