Miss Machine

  • Record Label: Relapse
  • Release Date: Jul 20, 2004
Metascore
80

Generally favorable reviews - based on 11 Critics

Critic score distribution:
  1. Positive: 10 out of 11
  2. Negative: 0 out of 11
  1. After five years, the band has lost nothing, only gained.
  2. It's the (insert made-up genre here, including the word 'progressive' and/or suffix '-core') album of the year.
  3. Rage, speed, and math are still here; but there’s a cinematic scope and a real attention to mood and texture that’s new.
  4. New Musical Express (NME)
    70
    As intelligent as it is ferocious. [31 Jul 2004, p.40]
  5. DEP is still struggling to re-establish a unified and compelling sound, and their newfound penchant for melodic exploration seems out of place amid the album's most inspired thrash moments.
  6. Giant mutant rats are running about the place with gasmasks and guns. Their eyeballs are electric red, firing lightning bolts of acid, spit and shit and blowing up the place and the furniture.
  7. When a band like the Dillinger Escape Plan is able to duplicate the intensity of the previous album, yet at the same time create music that actually possesses (gasp!) commercial appeal, daring to cause an uproar among dyed-in-the-wool hardcore fans, you know they're on to something memorable.
  8. Spin
    83
    Gleefully impurist and highly addictive. [Sep 2004, p.122]
  9. The group’s move toward a math-metal-industrial fusion is a welcome one that should help to bring them fans that have never heard the group before.
  10. Miss Machine simply crackles with stress; not stress over homework or girlfriends, but the kind of stress a bunch of semis put on a bridge.
  11. The last 10 or so minutes of the CD veer between bursts of riff noise more smoothly recorded than expected and washes of music to watch soft porn by, indicating the charm of being proudly abrasive and busy is wearing off.
User Score
8.6

Universal acclaim- based on 34 Ratings

User score distribution:
  1. Positive: 9 out of 10
  2. Mixed: 0 out of 10
  3. Negative: 1 out of 10
  1. Trilobite
    Aug 9, 2004
    8
    TDEP on a leash. I really wanted to rate this album an 8.5; the rating system, however, just like the album didn't give me much option TDEP on a leash. I really wanted to rate this album an 8.5; the rating system, however, just like the album didn't give me much option to really justify a 9.0 score. This is not a bad album, not by a long shot. It will probably also be somewhere in my top albums of the year. It is a refreshing, cacaphonic burst of sonic madness. A fullblown assault on the very core, the essence if you will, of most living beings, and it will severely shock most people upon first listening. It is a good solid album from TDEP, which, in all honesty, can't be compared with any band, except to its catalog. These guys have an instantly identifiable sound and style, are inspire people, and their impact has yet to be seen and appreciated. Here is where the criticism begins: compared with their previous outings and the leaps they made while making those albums (well, one album and a few EPs), MM does dissapoint. It is simply not TDEP at their best, period. Sure the album sounds good, but it?s absolutely a step backwards and that for a band whose blinders were always set on forward. I will not waste my time with explaining or plugging the back catalog, but their first full-length Calculating Infinity (1999) is just incredible (though sometimes I don?t ?feel? the vocals) and you can hear copycats ?inspired? by CC a mile away, and on The Mike Patton EP (irony is not a dead scene) they redefined themselves and pushed themselves to the next level. On MM the songs are more structured (not a bad thing necessarily) and Greg (the 'new' singer) prefers a singing style leaning towards hardcore, more in the style of Calulating Infinity. The end result, however, just doesn?t sound like the next level. The structuring of the songs (easier identifiable as a song) makes them sound as if they had barriers, hindered in some way. This combined with the hardcore-leaning vocals result in listening to a sort of castrated Calculating infinity; not because of the apparent less brutal sound, but because the band as whole leans towards that kind of sound, whereas with the IINADS EP the reinvented themselves. They still have the killer tunes (e.g., Panasonic Youth), but the overall impact is somehow not the same. One used to listen for hours to the albums trying to hear hidden sounds, overlapping riffs, and trying to find a structure, now it is practically on a plate. The Mike Patton EP (Irony is not a dead scene) was supposed to be bridge to MM, but in the end MM sounds more like a bridge album. Whereas TDEP normally sounds without boundaries, MM just sounds more confined, TDEP on a leash. But TDEP is still a thouroughbred. If you like TDEP, try this and don?t waste your time with anything else: Mastodon, Cephalic Carnage, Nasum, Mike Patton?s back catalog, Tzadik records, The Boredoms, The Ruins, Melt Banana, even try John Zorn, Zappa, Avant-garde, Acid Jazz. Full Review »
  2. Jul 7, 2015
    9
    The only songs I'm not too sure on are "Crutch Field Tongs" (seriously is that even a **** song?) and "Unretrofied" (just not a huge fan ofThe only songs I'm not too sure on are "Crutch Field Tongs" (seriously is that even a **** song?) and "Unretrofied" (just not a huge fan of it, I guess) but besides that, the album is absolutely **** flawless! Full Review »
  3. Jul 15, 2013
    7
    I was hesitant, at the time, to give Miss Machine the credit I knew it deserved. Between Calculating Infinity and the supremely satisfyingI was hesitant, at the time, to give Miss Machine the credit I knew it deserved. Between Calculating Infinity and the supremely satisfying Irony Is A Dead Scene EP and the magic Mike Patton brought to the fold, the new direction and stripped down nature of Miss Machine felt like a slap in the face. Over time and a series of albums that push the envelope further from where they began, however, I'm more comfortable with the idea that this record deserves to be heard. Even when compared to some of their more recent efforts, it truly does shine, especially along its superior first half. Tracks like "Panasonic Youth", "Sunshine the Werewolf" and its powerful industrial climax, and the twisted electric vibes of "Phone Home" help sell the new DEP with aplomb. I still miss the original machine, but Miss Machine at least is a competent move in another direction, with some truly fantastic moments within. Full Review »