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Sheavy-The Machine That Won The War
Artist : Sheavy
Album : The Machine That Won The War
Label : Dallas Tarr Records
Year : 2007
Genre : Metal Source : CDDA
Encoder : FLAC 1.2.1 Bitrate : 1004kbps
Playtime : 43:18 Size : 310.07 MB
Tracks:
01 the sleeping assassin 02:50
02 demon soldiers 03:39
03 humanoid 03:52
04 dawn of the black orchid 03:56
05 aboard the mothership 03:14
06 rings of saturn 02:45
07 here falls the shadow 04:10
08 lords of radiation 03:02
09 the dark carnival 03:43
10 where earth meets sky 04:18
11 one of us must be dead 03:27
12 the gunfighters 04:22
Notes:
By the time Black Sabbath released their sixth studio
album, 1975's Sabotage, their career was only just
starting to slip into a temporary decline towards after
an incredible run of era-defining heavy metal records;
by the time their Canadian disciples, Sheavy, unleashed
their sixth album, The Machine That Won the War, some
30 years later, they seemed about as plausible as
Sasquatch, given the small number of stoner rock
enthusiasts who were still aware of their existence. Be
that as it may, the Newfoundland-based quartet has
issued some very fine albums, and even a few stupendous
songs, over the years -- both because of and in spite
of the group's blatant similarities to MM, Osbourne,
Iommi, Butler, and Ward. The Machine That Won the War
not surprisingly continues in that oft-times criticized
tradition, with Steve Hennessy sounding his usual
Ozzy-like self and Dan Moore's power chord riffing and
doom-laden tempos dominating track after track (e.g.
"Dawn of the Black Orchid," "Here Fall the Shadow,"
"One of Us Must be Dead," etc.), with help from newly
added second guitarist Tommy Boland. Conversely,
Sheavy's early career flirtations with groovier stoner
rock are barely in evidence this time around (see
"Demon Soldiers" and "The Gunfighters" for rare
glimpses), and despite basing all of its lyrics on a
short story by Golden Age science fiction author, Isaac
Asimov (hence the album's title), neither are there
occasional space rock sound jams. Instead, the album
finds Sheavy paying undue attention to recycling the
ideas of their original masters into consistently
underwhelming modern doom derivations, which even their
biggest supporters are bound to agree, results in
arguably the band's weakest collection of songs since
their debut album, Blue Sky Mind. But there's always
another chance, and whether the world at large is aware
enough or not, Sheavy will probably be back for a
seventh go-round, which, until the original Sabbath
dusts off its cobwebs and hits either the studio or the
road, will certainly serve as a pretty decent placebo.