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Machina: The Machines of God (MOG) was the last official studio album released by The Smashing Pumpkins before their split in 2000 (if you exclude their free internet release, Machina II: The Friends and Enemies of Modern Music). Fans of the band will know that they have since reformed, but obviously no one at the time was in a position to predict that, so for all intents and purposes the album signifies the band's final farewell. The album was met with relatively mediocre sales and reviews from critics and fans alike. I'm in agreement with much of the criticism the album has received despite being a die hard fan of the band, and despite actually liking the album a great deal. Taken on its own the album is a worthy offering and contains at least one classic song (Stand Inside Your Love). Taken alongside the back catalogue of Smashing Pumpkins material it seems like a poor effort, especially considering the band's intentions of splitting up after its release and supporting tour. However, I believe its relative mediocrity reveals why the band were splitting up in the first place; the magic had waned, and the band were beginning to feel it. The album is difficult to understand in terms of genres, but this has been the band's modus operandi from day one. There is plenty here to whet the appetites of alternative rock fans, and indeed fans of the band's previous outings, and there is plenty of experimental dabbling as well. The opening track, "The Everlasting Gaze", begins with one of the most out and out rock riffs the band has written. The track opens the album and paved the way to the charts, being released as the first single from the album. I personally would have enjoyed this song twice as much if it weren't for the dodgy a cappella rap in the middle of it, and when the song reaches this moment in the accompanying music video I have to turn away lest I cringe myself to death. The second single to be released is one of the most memorable songs from the album, and it's one of the band's best songs in general, "Stand Inside Your Love". According to Billy Corgan (primary singer/songwriter) during an episode of VH1 Storytellers he wrote this song (both music and lyrics) in about ten minutes, during a state of "flow of consciousness". The song is a catchy rock tune which fared quite well in the charts, and contains the most recognisable ingredients of a Smashing Pumpkins song on the album. The third single to be released was the poppish "Try, Try, Try". Probably the most accessible song on the album its release as a single was well advised. The song was played live regularly during the post-Machina tours, and has several alternative incarnations on the free internet album Machina II. Along with "Stand Inside Your Love" the song represents the peak of quality you can expect from MOG. The album has a complicated and cryptic story running through it, involving various "players" which have featured in the band's previous work as well as a few new ones. Decrypting such information has never been a hobby of mine, but the story was pulled together via short animated films and online writings provided by Corgan. Despite the storyline most of the lyrics can be interpretative accurately on their own merits. The vast majority of the lyrics are focused on the band's imminent break-up and their fan base and their place in the band's world. The song "Glass and the Ghost Children", an epic 10 minute adventure with a long segue in the middle featuring a piano and recorded therapy sessions between Billy and what I'm assuming is his psychologist, is almost entirely explaining, in vague symbolic language, the writing, production and touring of an album. The song "This Time", what sounds like a straight-forward love song, is about the fans finally getting the answer to the big question: is the band breaking up or what? The album is rife with such lyrics, and as much as I like the songs mentioned I can't help but feel that their lyrical content barely amounts to art. The album has its share of great songs, some of which are betrayed by their lyrical mediocrity, but Machina: The Machines of God is usually the last album I would put into my CD player. That said, the fact that it's even on my list of albums to play at all speaks to its worth. If you're a fan of the band, you should check it out. If you're not, I don't think this album will change your mind.
Machina / The Machines Of God is an increedilbly underrated album. Probably the most inventive and experimental album The Smashing Pumpkins have ever produced, but also one of the most offbeat. It starts with a gunshot with 'The Everlasting Gaze', the thumping lead single with a crunchy baseline and an epic chorus that is similar to an evolved 'Zero'. 'Stand inside you're love' is a beautiful song that slowly builds up to a stunning crescendo, full of complex strings and drum beats. Track 6 'Try Try Try' is a stunningly simple track that makes perfect use of its instruments and vox. Melodically this album is upbeat and almost sentimental without being too saccharine. Songs such as 'The Crying Tree of Mercury' use slow plodding compositions but are arranged in a way that turns them into unique and unconventional recordings, whilst others like 'Heavy Metal Machine' create grinding melodies that are still delicate and nonabrasive. A very thoughtful and carefully constructed album.
I’ve not been a great admirer of The Smashing Pumpkins since they ventured onto the scene all those years ago. I have come across one or two tracks that I did like, but out of countless numbers of albums, that is not very good odds. The year 2000 has brought out some very good albums and surprisingly, out come MACHINA/ the machines of God. What really did it was an interview on MTV with The Smashing Pumpkins about the album and how they brought back an old member of the band. They played one of the tracks from the album, which I thought was very well written. Well, I thought I’d give them a shot; I had some vouchers to use up and I’d bought all the albums wanted by then. I’m not disappointed with the album in any way, probably due to my lack of confidence in the band, I was very surprised by it. It gave me new light on The Smashing Pumpkins and now I’m considering the risk of spending more money on them. I think my perception of them had been clouded by just hearing that one or two tracks from the albums rather than the albums themselves. I class them in the same category as Marrillion, because the songs seem to interact with each other. They don’t work very well on their own; they’re like a story… yes, like a story. The album kicks stunningly off with the track that made be risk the purchase The Everlasting Gaze : A heavy start, with the perfect opening line ‘You know I’m not dead’, a song that reaches out to those who feel ignored by the people who supposedly care. Extremely well written, and his strange high pitched voice works very well with the image of being upset and alone in the world. It seems to represent this character hitting out at the people who seem to have forgotten about him/her. It sets the mood for the rest of the album perfectly. A dark and lonely, slightly gothic setting. Raindrops + Sunshowers come up next with yet again a stunning opening verse ‘Rain falls o n everyone, the same old rain’. As you can tell it seems like a progression from the first track. Whoever this character is, he/she is going through some serious problems with the way it’s running its life. The track looks at a relationship that is teetering on the edge of destruction and everyday seems to rain done on them. It seems the character is gaining an obscure form of love from its partner and it doesn’t know what to do. It’s got such a dark presence, and a low feeling to the song, it really hits you and makes you want to continue listening to this story. Probably the famous track of the album Stand Inside Your Love is a very soothing yet slightly depressing song. The story continues with the track of explanation to its lover. A love song with a difference, this song opened me up to the band the most. It showed their darker side with a love song that is more along the lines of ‘I love you too much to keep you from getting on with the life you want and therefore it has to end’, in other words a love song of reality rather than the false views of lets say Brian Adams for example. This track is heart warming and heart numbing, an unusual combination and it works. It has a heavy depressing low sound to it as well as a quiet sensual tone. Almost as if it wasn’t a song, but more of a conversation to whom ever it was talking to. I of the Mourning is a track that perfects the last one with clarity. Its not the greatest track around, but the words follow the story very well. In honestly it is one of the weakest tracks on the album, other than the way it was written and its continuing dark impression, the sound doesn’t connect with the previous three. It was disappointing to hear, but as I said the words were well suited to the theme. The Sacred and Profane is a lovely song to listen to; it makes you want to sway and move to the rhythm of the track. The theme is still there through this track too; like a constant everlasting and inspirational story. I like the way it puts itself across; dark, with a twist of light that makes you want to move with its rhythm. A masterpiece within a good album, not many tracks do that to me. It has to have something unique, something…. I can’t really explain it. You know how songs hit you clean in the face and you think, WOW! well that’s what this did to me. Nothing much to say about the next track Try, Try, Try. Not impressive, but not terrible. A passive track; the sort you can listen to but would prefer to continue with the album, very placid. Heavy Metal Machine is at a guess Smashing Pumpkins tying to spice up the taste of the album with a very heavy song, probably to represent anger of the story. Although an impressive try by them, I think they should stick to what they know best- simply stick to rock than try on new territory that his voice doesn’t suite. I do like the track though, some good rifts and at time almost moshable to. Beyond this point the album does go a little down hill, track nine shows promise with a fairly good rhythm to it, but The Imploding Voice is not quite the same material as the first half of the album. I get the feeling they were experimental with new heavy sounds at this point; trying to go back to the times they did do some very good heavy tracks. After track nine, they went back to the softer side to life, but nothing really stands out from that point of the album. It does go somewhat south beyond track seven, yet overall a very promising reaction from someone who did not care for the likes of Smashing Pumpkins. It has helped me open my mind to newer horizons of musical ability. A bonus to the album is the artwork of the booklet you get with the album, and I mean booklet. It really helps depict the mood of the album. If you are considering to get the album, look at the booklet before you buy and see what I mean.
Machina/ Machines of God is the in no way pretentious title of what proved to be the Smashing Pumpkins final album, discounting of course the collection of outtakes released onto the internet by a disgruntled Billy Corgan under the title Machina II. The Pumpkins split up at the end of last year, claiming that they could no longer compete with the Britney Spears of this world. The rise of nu-metal of course has made this claim look a little po-faced, but Billy has always been one for the grand gesture. After the commercial disappointment that was ‘Adore’, this album was heralded to a return to the (ahem) ‘rock’ sound of their most successful releases. To be honest this isn’t strictly true although listening to opening track ‘The Everlasting Gaze’ you can understand where it came from. Out of the window goes ‘Adore’s gentle electronic sound, replaced with buzzsaw, industrial guitars. Corgan vocal is even more of a nasal sneer then usual and the bass is turned up to full. Despite this there is an excellent hook in the chorus, which rides in on a swirl of distorted guitar before dissolving back into the main searing riff. If it weren’t for the awful acapella vocal that doubles for a middle eight, then it would be a flawless beginning. The industrial sounding guitars crop up again on ‘Heavy Metal Machine’, which has a lyric every much as painful as the title suggests. Although the track kicks up a big noise there’s a big hole where the melody should be and the song is little more then an excuse for a massive riff, In contrast ‘Raindrops + Sunshowers’ would have slotted easily onto ‘Adore’. A close cousin of that LP’s ‘Apples + Oranges’, with a deep melodic bass or a treated guitar sound that reminds the listener of New Order. It’s a pacey enough song, but quickly fades from memory, lacking a memorable hook. <br> The only single taken from the album, ‘Stand Inside Your Love’, is classic ‘Siamese Dream’ era Pumpkins. Full of epic tendencies, building gently from a single electric guitar and Corgan’s voice to a massive chorus full of cascading grungey guitars and on into a spiralling guitar solo, before ending up in a delicious circular coda. Fantastic stuff. ‘The Imploding Voice’, meanwhile goes straight for the pop jugular, shamelessly stealing the riff from Hole’s Celebrity Skin (which Corgan would no doubt claim he wrote anyway) and showing a distinct debt to ‘Mechanical Animals’ era Marilyn Manson. The memorably spiky guitar line, flies in and out of the mix as Corgan sneers a melody that contains more hooks then some bands have managed in an entire career. The chorus soars appropriately, with Corgan harmonising with himself before engulfed by the maelstrom of guitar. Quite why this wasn’t released as a single is beyond me, perhaps the band felt it a little too commercial. ‘This Time’ meanwhile sees the Pumpkins, mastering that trickiest of styles, the much scorned power ballad. The track impresses as it manages to compress all the decadent grandeur of Pumpkins epics such ‘Porcelina of the Oceans Blue’, into a succinct four minutes. The guitars are held under close control, never threatening to swap a delightful melody, even the solo jangles rather the grumbles. The lyrics meanwhile, hint at the groups dissolution: “I’ve got to move on, I’ve got to sing my song,” and are tinged with sadness “Someday we’ll wave hello and wish we’ve never waved goodbye.” Perhaps Corgan’s most mature lyric to date, the closing line “As the curtain falls, we bid you all goodnight,” is a fitting epitaph. ‘I of Mourning’ too betrays Corgan’s growing dissatisfaction with curre nt pop music. The ironic repetition of the line “Radio, plays my favourite song,” is perhaps a little bitter too, given the Pumpkins decline from radio play-lists. The song itself, gently blends the classic Pumpkins histrionics with the heavily melodic bass of the ‘Adore’ period and grows more memorable with every play. The end of the album also contains a pair of intriguing semi-acoustic tracks. ‘Wound’ is very much the sister of both ‘This Time’ and ‘I of Mourning’ but with a less over wrought sound. ‘With Every Light’, meanwhile is so light its seems almost throwaway with Corgan sounding astonishingly joyful. Spouting lyrical platitudes such as “Look ma the sun is shining on me,” whilst acoustics jangle away sweetly in the background. The song is certainly a one off, perhaps the first Pumpkins to put a smile on your face. Sadly of course this is a Pumpkins album, and as a result is at least three tracks overlong. ‘Glass and the Ghost Children’ is just as awful as the title suggests. The song manages to meander along aimlessly for an epic ten minutes, without ever reaching any form of resolution. ‘The Crying Tree of Mercury’ is equally poor, with Corgan droning sub-gothic garbage to plodding funeral pace. ‘Blue Skies Bring Tears’ shows an interesting Bauhaus influence in its guitar line, but the track as whole is tedious nonsense. Thankfully, with a little judicious pruning by the CD skip track function, there is an excellent album here and undoubtedly up there with the Pumpkins best work. More multi-faceted then the slightly one dimensional ‘Adore’, less overblown then ‘Mellon Colly…’ ‘Machina’ is the work of a band at the height of their powers. They will be sadly missed.
In the weeks and months preceding the Smashing Pumpkins’ most recent release, the rumors were rife; the buzzards were hovering. After the lagging sales of 1998’s dead-on-arrival Adore, the suspiciously sudden defection of bass guitarist D’Arcy in late 1999, and the equally abrupt exodus of band manager Sharon Osbourne in January of 2000, there seemed every reason to believe that MACHINA/the machines of God would sound the death knell for the perpetually unsettled, Chicago-based collective. Of course, the Smashing Pumpkins have always served as a glorified – and ill-disguised – one-man showcase for singer/songwriter Billy Corgan – his shaved pate and feral teeth somehow always less suggestive of a ghoulish Nosferatu than a pasty-faced Uncle Fester with a Messiah complex. Having first staked his claim to rock-god posterity with 1993’s chronically over-praised Siamese Dream, the Pumpkins’ incorrigible frontman struck the mother lode with Mellon Collie and the Infinite Sadness, a dazzlingly ambitious double-disc set that – despite its occasional overblown opus, plodding stomper, and directionless sketch – nevertheless afforded Corgan the expansive canvas he seems to need in order to keep his demons and dementia in check and just generally get his megalomaniacal ya ya’s out. With its 15 songs clocking in at 70+ minutes, MACHINA/the machines of God is hardly an exercise in pithy minimalism. Corgan’s infamously shrill sinus-whine runs its usual lab-rat range – from shriek to squeak and back again – on a disc steeped in the sort of creepily obsessive love songs that one cannot help but suspect the man is singing to himself. While things begin encouragingly enough (the “Everlasting Gaze”’s raw riffage and sinister, Jimmy Chamberlin-administered stomp), the rest of the record plays out as a surprisingly mild-mannered, sometimes shockingly lobotomized link b etween the Pumpkins’ past and present. Much of the blame can be placed on a self-consciously muddied production style that seems less a nod to early Pumpkins’ fuzz and sludge than a belated sonic apology for the under-appreciated Adore’s straightforward candor and clarity. Thus, the sort of subtle, tuneful accoutrements that might otherwise elevate songs to signature status (“This Time”’s squalling, U2-like guitar; “The Sacred and Profane”’s soaring backing chant) are left helplessly burbling in the murk – sinking their songs right along with them. The promisingly poppy “The Imploding Voice” sounds as though it were strained through an out-of-range cell phone; while “Heavy Metal Machine”’s six-minute slab of dread ‘n’ drone might well get Marilyn Manson salivating in his panties but just sends the rest of us fumbling for our CD players’ [->] buttons. Only “With Every Light,” a gently effortless, Mellon Collie-esque confection, manages to make even an iota of impact – an impact all-but-instantly undercut by the blandly monochromatic album-cappers “Blue Skies Bring Tears” and “Age of Innocence.” If those hovering buzzards should actually be on to something – if those rumors of dissolution should ultimately prove true – what a crappy epitaph MACHINA/the machines of God will make for a band that has successfully navigated the rock ‘n’ roll rapids for better than a decade - and has never been less than entertaining in telling the tale.
I was very let down by this album, rumoured to be the Pumpkins last studio album. I was expected a return to the rocky tracks from Mellon Collie and all I got was a bland collection of songs that seem to merge into one another. The album opens well with "The Everlasting Gaze", a classic Pumpkins sound that doesn't sound too far away from the likes of Zero. After that its downhill, save for the single "Stand Inside your Love" which is a good track. I'm glad I used loyalty points to buy this on Audiostreet so it only cost me £1.99, because otherwise I'd have been very disappointed. If you're new to the Pumpkins, buy Mellon Collie, nut don't buy this one. One good thing though- the artwork for the CD is pretty nifty.
In the same way that both Siamese and Mellon Collie brought different aspects of the Pumpkins to the table without losing the core that makes them who they are, so does Machina, and for the most part it works well. This does show SP going "back to their roots", so to speak...but making sure to take the best elements of Adore with them - the textures and the alternative sound sources, and the groove. It's a more refined, textured, layered, almost cultured SP. Not to worry, the snarling, whining rage is still there along with the bludgeoning music... but if there's one thing Billy's shown us over the years, it's that contrast highlights power and fury, and that rage, resentment, defiance, anger and even love can be expressed in many different ways. Listen to the angular riffing and thick guitars and bass of "The Everlasting Gaze", "Heavy Metal Machine", "The Imploding Voice" and the latter half of "Stand Inside Your Love" - vintage Smashing Pumpkins. But also listen to the shimmering guitars, subtle textures and compelling hooks of "Raindrops & Sunshowers", "Stand Inside Your Love", "The Sacred and Profane" and definitely "Age of Innocence", which are three of the best cuts on the album. Expressive, textured, well-written and orchestrated. The beauty of "Disarm" is here, but more sophisticated, more ambient and layered. One of the great elements of this album is the focus on groove and hooks; SP's never lacked too badly in this area, but on "Machina" SP seems to really have zoned in on having each song groove powerfully, with feeling, deep in the pocket. It almost seems like an organic, acoustic version of Adore at a few points, which is good - it mixes the best of both worlds. It's something that wasn't quite as evident in their earlier work, brilliant though it was - Gish and Siamese were a bit too full of rage f or that, and Mellon Collie was too bombastic and theatrical. In that sense, "Machina" is a more full, more mature release. The guitar work on this album overall is excellent - elegant, dynamic and textured. And obviously, Jimmy Chamberlin's return gives the band such a solid, full foundation. One of the best drummers in all of rock today, Jimmy hands in a stellar performance. Listen to the man groove, and then listen to his sense of coloring, arrangement and monster fills, in the right places at the right times. D'Arcy locks in extremely well with him and really delivers a stand-out performance here - solid and relentless. However, there are some misses - one being the guitar distortion. It's okay to have that slightly fuzzy, static-driven tone on a few songs, but it gets annoying when it goes into every song. It gets repetitive and opaques/distorts the music and some of the more subtle dynamics going on during the songs. Also, the album starts to drag a bit during the last half - most of the songs are good, but on the whole they're more experimental and they tend to wander a bit. This is especially evident on "Heavy Metal Machine" which gets repetitive at the end, as well as "The Imploding Voice", "Glass and The Ghost Children", and "The Crying Tree of Mercury", hit and miss experiments that can get a bit bogged down in atmosphere and drama. A loss of focus on the hook and melody. To make up for it, they do end with "Blue Skies" and then "Age of Innocence" - a stand-out cut.
I used to hate the Smashing Pumpkins. That is until i actually listened to their songs and after listening to every album and almost every song, i can really say that the Smashing Pumpkins are one of the best bands around and one of the best bands that have been around. Not only because of the songs they have written, but because of the sheer imagination and vision by this terrific band. Their latest accomplishment is the very imaginative 'Machines of God' which explores lots of different levels of music in one.Straight from the start this album sounds like something special with the old pumpkins reviving long lost energy into songs such as 'The Everlasting Gaze' and 'Heavy Metal Machine'. The first single from this album is the terrific 'Stand Inside your Love' with it's mellow guitar and large deep bass drumming which you would think would never mix really makes you appreciate the standard of the song writing. The album is overall performed and structured very well which is a tribute to the Smashing Pumpkins who will unfortunately split after the next world tour which I will definetly be going to!
Atfer the moderate letdown of 1998's Adore, there was only one place left to go for the Pumpkins - back to square one.Machina marks their return back to their roots and clearly draws on their previous albums for inspiration."Raindrops + Sunshowers" and "Try, Try, Try" sound very reminiscent of Adore, while "Stand Inside Your Love", "This Time" and "Age of Innocence" could all be taken straight off Mellon Collie.On top of this, Corgan also demonstrates his unmatchable ability to explore new styles with "The Crying Tree of Mercury " and "Blue Skies Bring Tears".This album may disappoint Pumpkin fans hoping for a return to the foot stomping anthems of Siamese Dream but, unlike the aforementioned album, Machina demonstrates not only the versatility of Corgan as a songwriter, but also how gracefully his style has matured.
I was slightly put off by Adore. It wasn't my favourite Pumpkins album, and it was certainly WAY off Melon Collie or Siamese Dream. However, I managed to get my filthy mits on a promo copy of Machina and I have to say it completely blew me away. The standard of songwriting is incredible, as is the noises that Billy and James get out of their guitars (yeah, so I'm a guitar loving freak. shoot me) The album has fast become one of my favourites. I even bought another copy of it because the promo had a scratch on it. I really hope the news about the split is untrue because the next Pumpkins album has the potential to be one of the best ever.
‘MACHINA | The Machines of God’ is the best album of 2000 so far. Corgan’s song writing has taken on a new level of emotion and passion, and his majestic talent is here for all to see. This is probably the most consistently great Pumpkins album ever, and that’s saying something. The production is very polished, and there are loads of truly great and inspiring moments. The best songs are ‘I of the Mourning’, ‘Glass…’ and ‘With Every Light’, but all of them are great, and it is the album as a whole that excels. Unique and unsurpassed.
A most welcome return for Billy Corgan and co. After Adore which broke off from the Pumpkins’ rock stance into more electronically influenced music, The Smashing Pumpkins are back again with an amazing album packed with rock. The song titles are as ornate as they were before and the music sounds fantastic. The album doesn’t gently glide you in, it throws you into the frenzy straight away with the magnificent Everlasting Gaze, a powerful, surging song. Stand Inside Your Love, the first single from the album is a great track and was a good choice of release. The heavier tracks on the album are, I feel, the best, although the softer ones are very touching. The close to ten minute Glass And The Ghost Children, might wander on a little too much, but the rest of the album is first rate. It stands I feel, a little below Mellon Collie and Siamese Dream, as it doesn’t quite have the standout tracks that they both did, but nonetheless it is a spectacularly good album. Fans of the Pumpkins will love it, and newbies will find it very much to their liking. Billy Corgan said that rock was dead, he knew that it could be resurrected.
After the disapointing 'Adore' the Pumkins entered the studio with a renewed energy. Then, not long into the recording, troubled drug addict drummer, Jimmy Chamberlain came home and every turned out better than alright. This is a very different sounding Smashing Pumpkins. It still has miserbale lyrics, heavy metal(ish) music('Heavy Metal Machine') but it's optimistic, positive. Both musically aand lyrically. The the return of Jimmy gave the 'Kins something to feel happy about. This is what makes this album so different to any other previous album. This provides everything that was missing from previous albums, but keeps cliche moments. The classic 'Stand Inside Your Love' and rocking opening of 'The Everlasting Gaze' are the pumpkins at their best. But what makes this album so different are songs like 'Try, try, try' and the closing 'Age of Innocence'. These are up-beat, and the production is stunning. Jimmy Chamberlain is at his very, very best throughout. Considering this is the final proper Smashing Pumpkins album, this seems the perfect way to finish. Old classic misery mixed with a new optimistic energy. Up-beta combined with depressing. After nearly 10 years of Corgans misery, they finish on a positive, classic album. Not a bad way to finish, I think you'll agree.
All of the Smashing Pumpkins ablums have a definition, the dreamy Siamese Dream album, the arty Adore, the bloody marvellous Machina. I do not own the album but have borrowed it from a housemate and it absolutely kicks. I used to be a fan but lost touch with their music when they released mellon...But this, their final album, as the band are set to split is an absolute gem. The drums are handled perfectly and the bass and guitars are so well balanced it's a surprise that they don't give you protective clothing inorder to listen to this piece of musical genius. Bye smashing P's, one day may you reunite.
This was how the Pumpkins really should say goodbye, what a superb album to go out on. Every note shows how much the pumpkins have developed since their debut Gish. There are all of the hallmarks of good Pumpkins songs. The best track however has to be Stand inside your love this song is good in every way it is soulfull yet rockin. Other great tracks are The everlasting gaze which reminds me of Bullet with butterfly wings from Mellon collie and the infinite sadness. Another great track is Glass and the ghost children which is an extremely eerie song which rocks hard. I also urge you to go see em live before they break up at the end of the year, you will kick yourself if you dont.
Disc #1 Tracklisting
1 The Everlasting Gaze
2 Rain Drops & Sun Showers
3 Stand Inside Your Love
4 I Of The Mourning
5 The Sacred and Profane
6 Try, Try, Try
7 Heavy Metal Machine
8 This Time
9 The Imploding Voice
10 Glass And The Ghost Children
12 The Crying Tree of Mercury
13 With Every Light
14 Blue Skies Bring Tears
15 Age of Innocence
16 Age Of Innocence
17 Age Of Innocence Music