Show Review

The Secret Machines may very well not be a secret anymore.

Spin Magazine, Rollingstone and Blender, with consistent articles about Franz Ferdinand and the Killers, may soon print tales about this native Dallas turned New York City trio and their blend of loud, progressive, psychedelic rock. With their debut full-length album, Now Here Is Nowhere, a year-end critics' favorite, consistent radio play and packed club gigs, it appears more than just music writers are catching onto The Secret Machines.

The fashionably cool trio of Benjamin Curtis (guitar/vocals), Josh Garza (drums), and Brandon Curtis (vocals, bass) formed the band in Dallas back in the summer of 2000. After moving to New York City a few years ago, the trio quickly became one of the best live acts in and around the boroughs. Influenced by the 70’s rock of Pink Floyd, Led Zeppelin and The Band and taking cues from modern rock bands like Nine Inch Nails and Interpol, it's almost fair to say The Secret Machines sound quite unique.

Playing to a packed house at Higher Ground, the trio took to the stage with a larger than life presence. Donning sport jackets, lining up three across and redefining “the power trio,” the show kicked off with a fire power version of “Sad and Lonely,” featuring its catchy, yet muscular chorus. Behind them, the light show reigned supreme as blinding flashes of white gave the stage and music an extra pull of glamour - despite forcing fans to squint for survival. Drummer Josh Garza, appeared like some kind of a Viking warlord meets "Welcome Back, Kotter" character, with a loud coif and even louder drum sound. Banging away with his hair and arms flying like a chimpanzee, Garza’s thunder is the cornerstone of the Machines’ energy, while The Curtis brothers lay the smooth leads. Brandon Curtis’ vocals provide an art rock edge to round out the Secret Machines live concept.

The set consisted of a blend of organic, ambient and psychedelic textures, as Brandon jumped from bass to keys through a majority of Now Here Is Nowherematerial. The band tore through various soundscapes, including stellar versions of "Nowhere Again" and the groovy "Road Leads Where Its Led." When the trio journeyed into ambient improv territory in the middle of the set, the energy drained, as their musicianship is clearly best laid in a structured rock setting. So fittingly, Benjamin showed off his flair for Tom Morello machine gun guitar licks on the encore version of "First Wave Intact."

In the end, the hour or so performance was relatively short, as The Secret Machines are still defining what their live shows can potentially transgress towards, while still discovering their stage voice as a headliner. This building period is an exciting step forward for an act that is almost guaranteed to burst huge upon the release of their next album. Thriving on bringing a fresh taste of rock n’ roll to the stage, The Secret Machines prove that the power trio lives again. Take that Geddy Lee.

Photos courtesy of Michael Carney