7 Songs, 1 Hour, 6 Minutes

EDITORS’ NOTES

2009’s Infernal Machines is the debut of Darcy James Argue's excellent group, Secret Society, an outfit that the leader calls a “steampunk big band.” Looking both forward and backward, steampunk novels blend the appealingly musty with sci-fi elements, and on Infernal Machines Argue does a great job of transforming an ensemble associated with the ‘30s into a 21st- century force. (Interestingly, Argue is from Vancouver, the adopted city of science fiction author William Gibson, who co-wrote The Difference Machine, a key work in steampunk literature.) The album abounds with lush, Evans-like orchestrations for the 18-piece group, and Argue incorporates rock elements as well. Big band composers have been bringing rock into the mix for decades but the results are often ungainly or forced; it’s obvious here that for Argue the fusion comes naturally. Striking percussion marks the album, as well: check out the use of the Peruvian percussion instrument known as the cajon on “Phobos,” and the drumming on “Jacobin Club.”

EDITORS’ NOTES

2009’s Infernal Machines is the debut of Darcy James Argue's excellent group, Secret Society, an outfit that the leader calls a “steampunk big band.” Looking both forward and backward, steampunk novels blend the appealingly musty with sci-fi elements, and on Infernal Machines Argue does a great job of transforming an ensemble associated with the ‘30s into a 21st- century force. (Interestingly, Argue is from Vancouver, the adopted city of science fiction author William Gibson, who co-wrote The Difference Machine, a key work in steampunk literature.) The album abounds with lush, Evans-like orchestrations for the 18-piece group, and Argue incorporates rock elements as well. Big band composers have been bringing rock into the mix for decades but the results are often ungainly or forced; it’s obvious here that for Argue the fusion comes naturally. Striking percussion marks the album, as well: check out the use of the Peruvian percussion instrument known as the cajon on “Phobos,” and the drumming on “Jacobin Club.”

TITLE TIME
11:01
7:13
7:00
10:11
10:54
10:57
9:39

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