Maquina – ‘PRATA’ album review: pulsating grooves fitting for our times
THE SKINNY: While music has many uses, one of its most vital is that of escapism. In a world where bad news is seemingly endless, and the future looks increasingly bleak, there has never been a better time to find sanctuary in vivid sonic worlds. One band who have proven they are effective purveyors of aural journeys are Lisbon trio Maquina, who arrive with their second album PRATA this week. A collection of six tracks fusing techno grooves, psychedelia and krautrock with a distinctly punk edge, it’s the perfect sound for a world teetering on the edge of oblivion.
To bring the band’s modus operandi into focus, their name translates to ‘Machine’ in their native Portuguese, with prata translating to ‘Silver’ – an apt colour for a world increasingly reliant on computers. This aspect, when combined with the almost automated human drum beats and unsettling vocals of Halison, the unrelenting, gritty bass grooves of Tomás and the wall of sound guitarist João elicits from his fretboard and other FX, creates a definitive mood, and one that is perfect for hitting the gym or the dancefloor.
Heavy but animated, across this new collection of songs, Maquina demonstrates why they have been a growing presence in their homeland and why they are destined for further climes. With a run coming up supporting noise legends A Place to Bury Strangers later this month, PRATA is the perfect culmination of their career up to now and will likely earn them many new fans as they hit the road with Oliver Ackermann’s group.
The great thing about this record is that it grows on you. While it might wash over you at first, like the shapeshifting metal of the T-100, there is much to be found within, with the songs changing in complexion with each listen as there’s much going on. That’s the sign of an album with real depth. The only caveat would be that rhythmically, it loses its potency as it goes on with the beats largely the same.
For fans of: MDMA, moustaches and Dr. Martens.
A concluding comment a local PT: “‘Machine?’ These young scruffs couldn’t lift 5kg between them!”
PRATA track-by-track:
Release Date: April 5th | Producer: Maquina and Carlos de Jesus | Label: Fuzz Club
‘Body Control’: One of the singles from the album, this is an excellent place to start, kicking off with the swollen throbs of the bass and a languid but direct beat. In true Maquina style, it gradually builds, with all parts coalescing into one thunderous mass of air. The layering here is simply brilliant. [4/5]
‘Denial’: Another single we’ve had time to get to grips with, this is a track that’s impossible to ignore. Featuring a punky bassline and Halison’s affected lyrics buried deep in the mix, the beat of this one, when combined with the four-string and the various noises in the background, is the perfect soundtrack for a world becoming one with the machines. Utterly captivating but deeply terrifying, it’s a stroke of brilliance. [4/5]
‘Subversive’: It must be said that Tomás is adept at conjuring simple but effective basslines that act as the glue for Maquina’s songs. His rumbling, almost bluesy work on this number is the band’s engine, as the dancey beat and noise envelop it. While it’s the longest track on the album, the way it speeds up at the end is worth the wait. Perfect for festivals. [3.5/5]
‘Kontakte’: The introduction of stop four is the best on the album, by far. It’s atmospheric and conjures as much excitement as it does fear for what’s in store. When it all kicks in, it’s great, too, with the head-bobbing in tandem with the rhythm. My only criticism at this point would be the beat itself. I know the group seeks to emulate EBM and broader dance music, but they could switch it up just a little bit. [3.5/5]
‘Desterro’: While the full-throttle sound of this cut is all-encompassing, the collection of notes in the bassline is too close to that in Muse’s famous four-string moment ‘Hysteria’ for my liking. While the notes are only similar in some ways, and the rhythm is slightly different from the 2003 track, the bouncing between the open strings in the same key is too much. It detracts from this one, even if by accident. [2/5]
‘Concentrate’: Here’s a song where the psychedelia is ramped up, and the guitar is more prominent, with a discernible riff. Undoubtedly the most stoned piece on the album, it’s a fitting closer and a perfect last hurrah before the lights turn up and the wide-eyed revellers are hurried out of the venue in a mesh of sweaty t-shirts and mangled jaws. It’s another clear display that the trio know how to layer a track, with the oscillating dynamics entertaining from start to finish. [3.5/5]
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