How much influence doe the seventies' have on a resurging Rock
music? How bout going all the way back to 1970 for starters. How much influence
does Black Sabbath have on Heavy music? Go all the way back to 1995, or
somewhere thereabouts, to when a Canadian foursome going by s-HEAVY, pronounced
just how it's spelled, decides, well we're not just going to borrow from the
best, we're going to BE the best. And that's BE as in literally! Okay, okay, so
the Sabbath comparisons, and specifically singer Hennessey's remarkable burglary
of the original madman's beer soaked prime, have been done to death over and
again and so what of it if it gets you noticed? The one friend in Sheavy's
corner, besides being able to craft catchy Rock tunes and revise Radio Birdman
retro-ism's, is that for all the droves of distortion pedal dopeheads running
the bong water dry, they don't sound like any of them! And personally I'd rather
be scoffed at while being compared to Sabbath than I would to hear I sound like
every other stone-faced denim clad rusty zippered rip off of a fume-sucking era.
I gave these guys major airplay on my old college radio show and that would've
been for their "Electric Sleep" record, an easy riding classic that's
still a step above the many others since-save for Orange Goblin who was doing
some intense, if not insane things of their own, though not one could probably
remember what they were if you asked 'em. Sheavy might be a bit more coherent
but they're not wacky enough to disassociate from that which they've descended
from. That said, let's welcome aboard famed Sab producer, Mike Butcher, formerly
having final stamped such works as "Sabbath Bloody Sabbath" and
"Sabotage." Now here's the irony-this record doesn't sound nearly as
much like Sabbath as their first couple.
It's true, Hennessey's Ozzy incarnate, but musically, we're stretching
boundaries while maintaining tightness of focus that was "The Electric
Sleep." "Celestial Hi-Fi" came out a couple after that one and
sought refuge in the stars, granting the listener the necessary psychedelic road
trip from dust to dawn; and now down again we come for their catchiest disc so
far. Beginning with the farthest reaching tune, "Invasion of the Micronauts,"
it's got a cool uptempo vibe that in another life would scream
"hit-single" to Rock radio stations that gave two shits, but here,
it'll go down as a Pearl Jam styled feather weight amidst the dynamic density of
the surrounding. "Firebird 350" jets out the space dock with a two and
half minute rumble that throws early indications this stands to be the most
exciting Sheavy album. "Last Of The V8 Interceptors" continues with a
vintage opening riff that segues into a quickened verse and catchy groove that
stands among the album's best.
The title track employs a slight but useful synthesized effect over another
non-stop riff, a real standout quality of Sheavy's music and sonic step above
this go round-Dan Moore's really working the fretboard and the Butcher's pulled
every ounce for a striking rhythm set up that's like an STP boost in a sandy
tank. The choruses achieve a quick chokehold rather than the occasionally
long-winded doze offs from the prior. Overall, we're making great strides
musically, incorporating more percussive elements-the six minute "Ultraglide"
comes away as a near epic styled portrait of echo and fade amongst a mournful
discourse. "AFX… Thrown For A Loop" then, does just that afterwards,
having effectively slowed your senses to a near dull, then grinding your organic
gears into high and off you go rubbing your eyes, focusing on the ensuing blur
in front of you, headed for the highway, hell, or just somewhere you aren't
ready for. "Synchronized" is the most complete Sheavy record yet;
Their fourth, they've stepped away from precept, accepted the welcoming hand of
the "Hard Rock" alliance and returned to earth more dominant and
distinguishable than ever before.
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