Source : Album Artwork
One of the most richest and rewarding things a listener can possibly get from an album, is the provision of a substantial musical contribution which knows no boundaries. A true form of artistic freedom is to not limit yourself to one path, but to open yourself up to other paths in order to be able to widen the musical palette. This is exactly what Conrad Keely‘s (mainly known as main songwriter of UK alternative rock band And You Will Know Us By The Trail Of The Dead) debut album Original Machines has achieved.
Original Machines is a concept album which was inspired by Keely‘s time travelling around Cambodia, which the entire record was also written and recorded whilst he was on the road. In terms of a substantial concept, it has the recipe for a truly incredible musical journey which can be transcribed in to words. However it is the musical experimentation on this record which often proves to be the core strength of this album. Each song on here is vastly different from the next, some which are cleverly crafted musical gems. Songs such as ‘Warm Insurrection’, ‘In Words Of A Not So Famous Man’, ‘All That’s Left Is Land’, and ‘Before The Swim’ are all fine examples of how rewarding and musically diverse this album truly is – as well as being the key standouts on this project. Even the shorter musical interludes like ‘Forbidden Stones’, and ‘Waimanalo Drive’ are utterly mesmerising and beautiful in equal measure.
However, whilst Original Machines is certainly not short on ideas and experimentation, one of the albums rather frustrating downfalls is the overload of the content. The album is a mammoth 24 tracks long, and can at times be exhausting just as equally as it can be rewarding. Whilst there is not a distinctly bad song on here at all, there are a handful of songs such as ‘Rays Of The Absolute’, ‘Spotlight On The Victor’, and ‘Lost The Flow’ that are just weaker than others and almost seem like filler tracks. So with the overwhelming amount of product on this one album, one could argue that the content overload could merely be a result of overt self-indulgence – which at times it does dare tread that thin line. Alas that not be the case at all, as the scope, vision, and ambition of the album is ultimately its saving grace which reels it back together.
What can definitely be said about Original Machines is that Conrad Keely has just proved himself to not just be an incredible songwriter and singer, but also a solo artist – which he has single handedly proved on this beast of an album. But Keely‘s voice is just absolutely sublime throughout the album, and provides to be the one true and pure consistency on this project. A mixture of delicacy, tenderness, and heartfelt raw emotion that has the potential to translate to any patient listener who is ready to give this album a chance.
Whilst Original Machines is big, bold, and ambitious on all levels, it can be equally exhausting and frustrating because of its length. This is an album that will take a few listens in order to be truly appreciated – but critically speaking one feels that to garner a true emotional and visual connection to these songs, you must follow the album’s individual artwork for each songs which is provided in the album booklet. This in itself is a true testament to this album representing itself as a true artistic expression, as opposed to being another rock album. Could this have been better released in to two albums? Possibly. But Conrad Keely has created something truly unique here, but this is an album which will require your full attention and multiple listens in order for you truly soak up the entire conceptual experience. Patience does reward you inevitably, so give this a listen or two and immerse yourself in a wonderfully crafted piece of artistry.
