Echo Rotations Review of Gilt
By Nick Sagos
The bass on Gilt is a clean stream of low end rumble. Illusively cloaked on smaller speaker systems, large woofers reintroduce the sub-100hz tenor into the mix. Machines of Loving Grace’s lyrics are constructs of reference. Subjects and selected subject matter is alluded to and rarely stated directly.
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Machines of Loving Grace–Gilt
by Johanna Bonisteel
Machines of Loving Grace are a band I have always enjoyed, and this album is no exception. This is one of those albums that make you want to MOSH! It gives you an adrenaline rush. It’s just great industrial music.
This album is a bit more experimental than MoLG’s previous albums.
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Gilt Review
by Sean Eric McGill
It isn’t anything new for a band to change their sound, especially in industrial music. But Machines of Loving Grace have done more than change their sound on their new release, Gilt – what they have done is totally redefine themselves and create the best release of their career in the process.
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Gilt Review
by Karen Sheets
Like their cohorts Chemlab and Sister Machine Gun, Machines of Loving Grace fail to find intensity in their fusion of post-industrial and hard rock.
Gilt’s songs are the typical semi-quiet verses and loud thrashing choruses. The guitars and bass have an overweight sound, like a fat,
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Machines of Loving Grace–Concert Review
By James Ellis
“It didn’t make much sense, but it sure was a lot of fun” (Live Review 1995)
I was a little confused when I walked in the door. The show, a bang-slam rock-techno fest at the Brewery featuring Korn and Machines of Loving Grace, almost didn’t happen.
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CMJ Review of Gilt #1
On their previous releases, Machines Of Loving Grace relied heavily on electronic gear to empower its music, but on its third album Gilt, produced by Sylvia Massey (Tool, Babes In Toyland), they churn to a much different beat, having added very heavy, live guitar and rhythm sections. Although the band’s core sound screams pure,
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Echo Rotations Review of Gilt
By Nick Sagos
The bass on Gilt is a clean stream of low end rumble. Illusively cloaked on smaller speaker systems, large woofers reintroduce the sub-100hz tenor into the mix. Machines of Loving Grace’s lyrics are constructs of reference. Subjects and selected subject matter is alluded to and rarely stated directly.
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