Music

Old Time Machine: Old Time Machine

Old Time Machine began as an art-show contribution of a bluesman and a bedroom musician. They've stuck together since that exhibition and become one of the most exciting new bands in music.


Old Time Machine

Old Time Machine

Label: File Under: Music
US Release Date: 2012-04-10
UK Release Date: 2012-04-10
Amazon
iTunes

Ryan McNally and Kyle Cashen originally were following very different creative paths as Canadian musicians. When they came together to make music, I doubt either of them had any idea how brilliant their combination would be. Ryan sings and plays a kick drum, hi-hats, guitar, banjo, mandolin, and ukelele. Kyle utilizes a drum machine, echo, a pedal bass, floor tom, ride cymbal, snare, and tambourine. Both are veritable one man bands who face each other onstage and hold their own. Together, they make up Old Time Machine and have just released their self-titled debut album- and it's brilliant. Old Time Machine is full of unique ideas filtered through an old lens, in a similar vein to a lot of Tom Waits' best material, which Old Time Machine is almost on par with. Praise doesn't get much higher than that.

"Sun Burns Out" immediately gets some dust kicked up and is absolutely riveting in virtually every facet of its execution. McNally is revealed as an incredible songwriting talent, offering up one of the years best opening verses and then continuously matching and exceeding it throughout the course of Old Time Machine. Which is especially surprising considering how easy it would've been to falter after such an outstanding opening track, all rustic fire with a gorgeous string and vocal accompaniment. "I'm gonna love you baby 'til the sun burns out" is as bold of a poetic statement one can make and this song is one of the best someone can listen to.

If any thoughts of subsequent failure were entertained, then "Doin' All I Can Do" immediately annihilates them, offering up another highlight, something that Old Time Machine never runs out of. The way these songs are filtered not only play up the overall effect to the greatest possible strength, they make them stand out. It's incredibly hard not to notice something that's this perfectly realized. That realization is never lost sight of for the entirety of Old Time Machine, which is easily 2012's strongest full-length debut thus far. Just when you think you've got Old Time Machine figured out, though, they pull a trick out of nowhere and execute that to perfection as well, continuously broadening their sound in subtle ways.

That's a feat that becomes noticeable by the third track, "Pouring Rain", which is as much of a foot-stomper as the first two tracks. Around this section of Old Time Machine where the words instant classic might start creeping up as a possibility. The way everything flows together in "Pouring Rain" (and every other song on Old Time Machine) is nothing short of astounding. Sounds that aren't normally associated with each other become the most complementary things imaginable and the band uses them for all their worth and then some. As always, the lyrics are somewhat unbelievable in how perfect they are themselves in both "Pouring Rain" and the following track, "Mountain Shack".

"Mountain Shack" opens with an insanely detailed narrative of a walk through a town right down to the outstanding lean "I lean on the fender, watch the people go by, notice the girl that I love, she don't show me her eyes". It's small moments like those that continuously materialize effortlessly on Old Time Machine that are strong enough to knock the wind out of the listener. The attention to detail and craft demonstrated throughout the entirety of Old Time Machine is second to none. This isn't just original music of the highest possible caliber, it's transcendental of time itself.

Its timelessness is only confirmed by "Feel So Cold" in which one would be forgiven if they were to mistake McNally's vocals for Dan Auerbach's. The similarity isn't particularly evident until that point because, frankly, the music that McNally's making actually feels more important. Instead of trying to resurrect the delta blues, Old Time Machine's turned to Tom Waits' example and created their own peculiar strain of it. "Feel So Cold" is the track where that becomes the most evident, especially when it locks into a deep groove that's triggered by the low hum of the pedal bass. When it closes out with ghostly harmonies the question of Old Time Machine becoming a destined-to-be over-looked classic is no longer a question but a guarantee.

Those ghostly harmonies permeate throughout Old Time Machine and provide the entire affair with haunted atmospherics that cater to the moods of the songs as perfectly as possible. This is especially true on "Through the Window" and incredibly so when it comes to the songs whistling portions. "Through the Window" is yet another standout due to the intricate arrangements that end up being challenging, memorable, and incredibly effective all at once. Once again, McNally's whiskey-soaked vocals and incendiary words cut through and elevate a great song even further in quality.

"Where the Hell Are We" is one of Old Time Machine's most immediate and accessible tracks. Featuring a pop sheen ripped straight from '90s alternative bands and incorporating that into their sound, unsurprisingly, turns out to be a brilliant move that suits the band well and offers up yet another highlight. Everything operates so fluidly in this single track that it'd be hard to imagine that it wouldn't find some level of success as a single, given the right amount of exposure. "Where the Hell Are We" also, once again, goes a long way in proving Old Time Machine's versatility and expands ever so slightly upon their potential.

Old Time Machine ends with the brilliant pairing of the eerie "May As Well Be Night" and the unbelievable closer "Tearing Me Down". While "May As Well Be Night" maybe Old Time Machine's least immediate track, it's not a lesser song, which is an important distinction. "May As Well Be Night" succeeds in showcasing another effective dimension of Old Time Machine's timeless Americana approach and features the records most haunting backing vocals- as well as one of its best vocal arrangements. As that song closes, all Old Time Machine needed to do was provide a great closing song to have a near-perfect record... and they may have over-delivered.

"Tearing Me Down" is not only the best song on Old Time Machine, it's one of the best songs I've heard all year. Beginning with some frantic mandolin strumming and soon accompanied by those persistent haunting backing vocals, sparse drums, and that familiar low hum, it settles into a wonderful verse structure before resuming its opening pattern on the chorus. During the second verse, the songs cut into by a drum machine with some echo for effect and the second chorus is laced with even more vocal assistance. After a post-chorus section everything drops out but the mandolin before it's re-joined by the machine effect and a taped mandolin loop which continues over the third verse. In the third verse's latter half a string bass is plucked and it leads straight into one last explosive barn-burning chorus.

When Old Time Machine finally comes to a close, it exits in a sudden haze of feedback that disappears as abruptly as it enters. It's a breathtaking moment that marks the end of something truly spectacular. While Old Time Machine may be a niche record and may fall just short of being absolutely perfect, there's no doubt in my mind that in December it'll still be one of 2012's most fascinating (and best) releases. Simply stunning.

8

So far J. J. Abrams and Rian Johnson resemble children at play, remaking the films they fell in love with. As an audience, however, we desire a fuller experience.

As recently as the lackluster episodes I-III of the Star Wars saga, the embossed gold logo followed by scrolling prologue text was cause for excitement. In the approach to the release of any of the then new prequel installments, the Twentieth Century Fox fanfare, followed by the Lucas Film logo, teased one's impulsive excitement at a glimpse into the next installment's narrative. Then sat in the movie theatre on the anticipated day of release, the sight and sound of the Twentieth Century Fox fanfare signalled the end of fevered anticipation. Whatever happened to those times? For some of us, is it a product of youth in which age now denies us the ability to lose ourselves within such adolescent pleasure? There's no answer to this question -- only the realisation that this sensation is missing and it has been since the summer of 2005. Star Wars is now a movie to tick off your to-watch list, no longer a spark in the dreary reality of the everyday. The magic has disappeared… Star Wars is spiritually dead.

Keep reading... Show less
6

Here it is, the last Viewer Discretion Advised before SE&L settles in for its annual examination of horror in all its many film-oriented facets. As usual, the pay cable channels are challenging the very notions of quality, providing limp action, dull drama, and uninspired comedy as its main cinematic starting points. Only a fascinating look back at the War at Home circa 1945 holds any worthwhile allure. Things aren’t much better on the Indie and Outsider scene either. It looks like every movie-based network is waiting for the calendar to turn over so they can indulge in a little movie macabre thrills and chills. So play it safe this weekend – tune in to the suggested selection, and then get ready to get your creepy crawly on. You’ll have 31 days of dread before the haunted holiday itself signals an end to all the ghosts and goblins:

Premiere Pick

Flags of Our Fathers

It was an ambitious decision. With the success of Saving Private Ryan and books like The Greatest Generation, Hollywood and the viewing public’s newfound love affair with World War II was about to get a whole lot trickier. Clint Eastwood announced that he intended to take on the Battle of Iwo Jima – one of the conflict’s worst and bloodiest – and present it from two perspectives. The first would be this Western/Allie/American side of the story, with that famous photo of the flag raising beginning the dramatic dissertation. From there, the hero worship accompanying the soldiers, plus the search for the real story behind the shot, are given an equally evocative treatment. For many this was the lesser of Eastwood’s daunting double feature. The all Japanese Letters from Iwo Jima would be considered the material’s masterpiece. Still, this is a wonderful motion picture, addressing issues not usually associated with a war movie. (29 September, Cinemax, 10PM EST)

Additional Choices

Miami Vice

Michael Mann’s uninspired update of his seminal ‘80s TV series avoids all of the arch art direction and soundtrack spoils that gave the MTV-inspired crime drama its signatures. Instead, we getting Colin Farrell and Jamie Foxx doing Scarface for an audience more interested in pastels and Glen Frey than undercover acrobatics and moral indecision. (29 September, HBO, 8PM EST)

Running with Scissors

Movies based on books run the risk of angering more than one demographic. You have devotees to the tome, individuals hoping for complete authenticity. On the other hand, you’ve got film fans who just want an engaging entertainment. This adaptation of Augusten Burroughs autobiographical work satisfied neither. It missed too many of the memoir’s finer points, substituting obvious quirk in their place. (29 September, Starz, 9PM EST)

Failure to Launch

Here’s a weird idea for a romantic comedy – let’s focus on the adventures of an amiable slacker who won’t leave home, even after he hooks up with a socially acceptable hottie. Matthew McCanaughy is the likeable sponge. Sarah Jessica Parker is the horse-faced catalyst who’s supposed to inspire, and then spring him. It’s all very touchy feely and phony as Hell. (29 September, Showtime, 8:15PM EST)

Indie Pick

Kill Your Idols

Kill Your Idols starts off with a stellar premise for a documentary. Hoping to trace the history and growth of the No Wave scene in mid '70s New York, director S. A. Crary rounds up a few of the usual suspects – and a couple we desperately hope to hear from – and turns the camera on their open, opinionated selves. For anyone who grew up in the period, only 'hearing' about artists like Lydia Lunch or Suicide from their more hip and haughty pals, this is a chance to get in on the ground floor of the significant sonic movement and see what all the fuss was about. In many ways, this approach will probably copy your reaction to this fine, fragmented film. On the one hand, you will definitely find these aging musical anarchists an intriguing and engaging bunch. But there will be folks who hear the racket these reasonable people made and bristle at such an atonal attack. For them, no amount of erudition can make up for their lack of melody. (01 October, Sundance Channel, 11PM EST)

Additional Choices

American Splendor

Paul Giamatti is writer Harvey Pekar, a miserable man who channels his angst into the title comic. Along with friend Toby Radloff (the genuine nerd of Cleveland, Ohio), they work as file clerks for the VA. This astounding biopic follows the cult figure’s rise to prominence…and the pitfalls along the way. (01 October, IFC, 9PM EST)

Debbie Does Dallas Uncovered

One of hardcore’s penultimate titles gets a documentary breakdown thanks to director Francis Hanly’s overview. This is really nothing more than a UK look at America’s obsession with smut, an episode from Channel 4’s sensational The Dark Side of Porn. Still, it definitely deserves a look. (02 October, Sundance Channel, 2AM EST)

Dahmer

He remains an icon of evil, a man so disturbed that he could only satisfy his psychosexual cravings via vivisection and cannibalism. When he was caught, the slaughterhouse state of his apartment indicated a darkness much deeper than anyone thought. Too bad this small indie effort fails to capture any of these elements. (03 September, IFC, 9PM EST)

Outsider Option

Circle of Iron

In an ADD hampered cinematic society which thinks films like Crank and The Transporter are too restrained, this elemental Bruce Lee vanity project (which was completed posthumously after the noted Asian action star died) will appear almost comatose. But if you get into the mellow mood being presented, and actually listen to the many maxims offered up, you will definitely be engaged both visually and metaphysically. For many, Lee continues to be batted back and forth, marginalized and sanctified by critics on both sides of the conversations. Still, it’s clear that his impact on martial arts in the movies remains as strong as ever. No film featuring kung fu, karate, or any other form of Eastern training can make it into theaters without bowing to the man who more or less formed their commercial viability. While Circle of Iron won’t diminish his earnest reputation, it also won’t amplify it. Instead, it remains an individualized endeavor lacking its true inspiration. (01 October, Flix, 12:45AM EST)

Additional Choices

Bikers Beware!

It’s Billy Jack vs. Marlon Brando as TCM’s Underground brings chopper riding reprobate to the late night audience. Both movies here – The Born Losers and The Wild One – have been featured before, so if you love ‘em, here’s your chance to enjoy them all over again. If you’ve never seen them, you’re in for some remarkable man vs. motorcycle madness. (05 October, TCM Underground, 2AM EST)

The Red Shoes

British auteur Michael Powell and his longtime collaborator Emeric Pressburger created this decidedly adult take on the Hans Christian Anderson fairytale, and critics have been beside themselves ever since. Remarkable in its use of color and art design, yet equally imposing in its acting and dance performance, this is a masterpiece for the ages. (30 September, Retroplex, 11:40PM EST)

The Capture of Grizzly Adams

Okay, so it’s a TV movie. Sue us. We here at SE&L just can’t get enough of Dan Haggerty’s hokey mountain man persona, and this old fashioned melodrama has enough wonderfully weepy elements to push all of our guilty pleasure buttons. Come on – it’s got wrongful accusations and kids being threatened by a trip to the orphanage. How can you say no? (02 October, Drive In Classics Canada, 10:30PM EST)

This has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it.

It hardly needs to be said that the last 12 months haven't been everyone's favorite, but it does deserve to be noted that 2017 has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it. Other longtime dreamers either reappeared or kept up their recent hot streaks, and a number of relative newcomers established their place in what has become one of the more robust rock subgenre subcultures out there.

Keep reading... Show less

Aaron Sorkin's real-life twister about Molly Bloom, an Olympic skier turned high-stakes poker wrangler, is scorchingly fun but never takes its heroine as seriously as the men.

Chances are, we will never see a heartwarming Aaron Sorkin movie about somebody with a learning disability or severe handicap they had to overcome. This is for the best. The most caffeinated major American screenwriter, Sorkin only seems to find his voice when inhabiting a frantically energetic persona whose thoughts outrun their ability to verbalize and emote them. The start of his latest movie, Molly's Game, is so resolutely Sorkin-esque that it's almost a self-parody. Only this time, like most of his better work, it's based on a true story.

Keep reading... Show less
7

There's something characteristically English about the Royal Society, whereby strangers gather under the aegis of some shared interest to read, study, and form friendships and in which they are implicitly agreed to exist insulated and apart from political differences.

There is an amusing detail in The Curious World of Samuel Pepys and John Evelyn that is emblematic of the kind of intellectual passions that animated the educated elite of late 17th-century England. We learn that Henry Oldenburg, the first secretary of the Royal Society, had for many years carried on a bitter dispute with Robert Hooke, one of the great polymaths of the era whose name still appears to students of physics and biology. Was the root of their quarrel a personality clash, was it over money or property, over love, ego, values? Something simple and recognizable? The precise source of their conflict was none of the above exactly but is nevertheless revealing of a specific early modern English context: They were in dispute, Margaret Willes writes, "over the development of the balance-spring regulator watch mechanism."

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image