Review Summary: A more streamlined approach to chaos, showcasing a band that was willing to develop their sound into something more organic than the usual "mathcore" outfit would produce.
In terms of impressive discographies, DEP are a band that definitely hold their own with their releases. Right from the beginning of their career with Calculating Infinity, the band have consistently amazed listeners with each album they have done. Their signature brand of mathcore, interspersed with various splices of hardcore, metal and even pop sensibilities has earned them a favourable reputation amongst the heavy music audience. Miss Machine, their sophomore effort, was the first album to feature the vocal talents of one Greg Puciato. Whilst not as ridiculously chaotic as their debut, Miss Machine presents a band willing to define their sound further from the virtuosic insanity prevalent on Calculating Infinity, incorporating more refined and varied elements into their music.
Album opener Panasonic Youth introduces the listener to the frenzied sonic assault that the band are so well known for. The track is a punishing romp through complex arrhythmic timings, flurries of technical ingenuity from the guitars and the ever so consistent roars of Puciato. Whilst he isn't as cathartic vocally as Dmitry, Greg employs a very powerful and solid range of screams and shouts throughout the album, as well as breaking out into clean singing on occasions. The chorus of Setting Fire To Sleeping Giants is noteworthy for its cleans (as well as a pleasant jazz interlude) and in the grand scheme of things, they are a welcome addition to the bands sound, adding variety and a new element of sound previously unexplored on Calculating Infinity. Highway Robbery is more of a typical hardcore punk track, yet features an absolutely brilliant interlude where the guitars create a wonderfully ominous atmosphere. Baby's First Coffin is another highlight, balancing the more chaotic elements with a melodic side (including superb use of natural harmonics).
In amongst the expected "heavier" tracks of the album lie a couple of interesting additions that provide a more experimental edge to the band. Phone Home takes influence from industrial act Nine Inch Nails (and perhaps even more so electronic virtuoso Aphex Twin) and Unretrofied wouldn't be out of place on daytime radio broadcasting with its simplistic song structure and catchy instrumentation. Whilst both tracks aren't bad, the true essence of Miss Machine is the more polished and structured heavier tracks that retain several facets of chaos found on Calculating Infinity whilst instantaneously being more diverse and accessible. Even if their debut surpasses pretty much everything the band released thereon after, their sophomore effort remains a highly listenable and enjoyable record. If you're looking for blazing technicality and unrelenting passages of brutality, then this album probably isn't what you are looking for. However, if you like heavy music with complex intricacies that features some of the sensibilities found in less chaotic genres of metal and punk, give this a try.
