In many ways, Machine Head has basically been Robb Flynn’s band, but this became even more evident once the band parted ways with founding member Adam Duce in 2013, followed by longtime members Phill Demmel and Dave McClain in 2018. Since then, it has essentially become a one-man show, with different band members recording and touring with Flynn. However, it is also Flynn’s unstoppable drive that has kept the band going through the many (often self-inflicted) storms.

After a turn-of-the-century flirtation with nu-metal and a failed attempt at creating something strong while pleasing the fans with the back-to-the-roots release Through the Ashes of Empires, he guided the band back on track. This came in 2007 in the form of one of the strongest albums of the band’s career, The Blackening. He also managed to nearly erase the memory of their weakest album to date, Catharsis, as well as the subsequent departures of Demmel and McClain. Flynn even turned his surrendering return to playing festivals into making Machine Head a headliner-worthy name at metal festivals.

The band’s previous album, Of Kingdom and Crown, not only repaired the damage caused by Catharsis, but with it, Flynn created a solid album that will undoubtedly be worthy of revisiting in years to come.

At first glance, the follow-up, Unatoned, feels like Of Kingdom and Crown part two, because Machine Head is once again using the same lettering style in the titles (the Ø instead of o) and because they have once again enlisted Seth Siro Anton for the gorgeous artwork. Additionally, just like its predecessor, the new album is produced by Flynn and Zack Ohren, with Colin Richardson mixing and Ted Jensen mastering.

But, for better or worse, Unatoned has more to offer.

Sonically, the album builds on its predecessor with a richer, more polished sound, which suits the musical approach of the album, one that is more comercial and to the point. The songs are shorter and stick to a more conventional structure. This means that the twelve tracks on Unatoned clock in at just under 42 minutes.

The very rounded and polished sound makes for a smooth listening experience, and while the production is extremely well-executed, the overall result lacks a certain edge. This is especially noticeable on the majority of songs, which are heavily accompanied by keyboards.

The same can be said about the album in general. Machine Head comes across as too calculated and safe. Just check out songs like “Outsider,” “Bonescraper,” or “These Scars Won’t Define Us.” With a minor adjustment in the mix and arrangements, “Bonescraper” could easily fit in the Eurovision Song Contest. There’s a choking, candyfloss quality to several of the songs, which is hard to associate with Machine Head.

Flynn has always been solid at creating hooks in his music, and this album is no exception. However, the intense focus on über-catchy choruses gets repetitive after a few songs. Not because of their melodic nature, but because Flynn’s melodies are often predictable, uncreative and very similar to one another.

The album bears many of Machine Head’s trademarks proudly, but the overall feel is far more approachable and could appeal to fans of Five Finger Death Punch, Bring Me the Horizon, and ironically, Drowning Pool.

Flynn’s return to playing festivals has paid off, with the band almost immediately landing headlining spots. Now, Machine Head is cleverly capitalising on the momentum by releasing their most commercial record to date. He has also noticed that only few metal bands that didn’t start their careers in the ’70s or ’80s are able to headline festivals. One of those bands is Slipknot, so there are a couple of typical Slipknot-esque songs on the album as well. “Addicted to Pain” is as Slipknot as it gets, as is “Scorn,” which is essentially a rip-off of “Snuff.”

On the other hand, the album starts strongly with “Atomic Revelations” and “Unbound.” The latter of the two is a perfect example of crafting a catchy song while keeping it edgy and undeniably Machine Head. It’s likely to become a live regular, much like “Ten Ton Hammer” and “From This Day.”

Flynn loves a challenge, which is why throughout their career, Machine Head has released several albums that saw the band experiment. Sometimes it works extremely well, like on Bloodstone & Diamonds; other times, it results in something dreadful, like Catharsis. The new album, much like The Burning Red in 1999, sees Flynn trying to fit into a current, commercially appealing formula. It worked just fine on nu-metal inspired The Burning Red, but it doesn’t work as well on Unatoned because it feels like the band’s identity has been watered down in order to meet certain criteria. Another aspect where the album falls short is the overall quality of songwriting—an aspect that simply needs to be intact.

But we also need to view this album for what it is. Unatoned’s goal is to reach a broader audience than Machine Head typically does, and it’s form achieves that. The timing for this move is perfect as well, so that for sure does make sense. But overall, this album will not play an important artistic role in the band’s career. In that regard, it is nothing like Metallica’s 1991 self-titled album, which opened the doors to the mainstream while simultaneously creating an impeccable milestone in the band’s and genre’s artistic history.

www.machinehead1.com