String Machine puts the “orchestra” in Manchester Orchestra. Maybe that’s a bit of an oversimplification but at a glance, it gives listeners an idea of what to expect – brooding, soft-spoken indie a la Triple Crown Records paired off with brass, strings, and harmony. On their latest release, as the title might suggest, the band balances fanfare and dirge across the album’s 31-minute runtime.

For this group, every piece of the mix is an important element. Or, put more simply, the songs are not crafted around gimmicks concerning specific percussion or brass parts. Everything is at its best in light of everything else. It’s the composition and orchestration that makes String Machine so compelling.

One appreciated switch-up is that the album’s singles actually fall closer to the end. By design, the group avoid a front-loaded album easily. But “Churn It Anew” and “Gales of Worry” serve as highlight moments early on that simultaneously prevent the album from being too bottom-heavy.

“Eyes Set 4 Good” is a particular standout, mixing playful synths into a triumphant indie base. It feels victorious and bright, and it’s easy to draw some Sufjan comparisons here as well. The ending build is particular exciting, even if it doesn’t seem to ever reach its fully potential. All the same, it’s a dynamic powerhouse.

There’s a lofi quality that’s hard to place. Maybe it’s some of the more true-to-life production. Maybe it’s the drowsy, disenchanted vocals. The imperfections and rough edges are neither amplified nor diminished – they just exist. But there’s a humanity to these tracks that is honestly heartwarming.

String Machine manage to bridge 60s and 70s songwriting, the quirkiness of acts like Danielson, Sufjan’s chamber folk, and even a bit of TWIABP. The result is an album that feels just full enough. There’s still room to breathe, something that’s rare for albums of this flavor. But again, everything has its place. Each texture is complementary.

Hallelujah Hell Yeah is a perfect introduction to String Machine. It sees the foundation laid on Death of the Neon covered up in sturdier construction this time around, and there aren’t any particular weak tracks at play. There are brief moments hear and there were attention may drift slightly, but these are shot-lived given the shapeshifting nature of the songs. The vibe is one of wonder and awe; it evokes a sense of adventure and exploration. This is an odd collage of an album, but it’s a revitalizing look at genres which have become increasingly-predictable. String Machine have a promising future ahead.

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