Relatively concise, the album is little less than thirty-nine minutes long, and has six tracks: 1) Chris; 2) Bitch Too; 3) The Capricorn's Silent Walk Through Pagan Fire And The Sea Of Blood; 4) Keith; 5) Hollow; 6) DM II; with a marvelous sonorous dissonance that revolves around the most formidable aspects of the genre, The Great Machine – on its slowest songs – showcases exasperating musical tonalities, whose harmonies reverberates around the discreet peripheries of its own diffusive and overwhelming shadows. Now, despite the fact that they can be relatively conventional at times, their sound never disappoints, as their rhythmic ferocity seems always to be escalating towards an endless creative voracity, that will totally dismantle the organic flexibility of its own sensitive virtues.
With the relentless nature of their compositions, even their calmer songs seems to be impregnated with a sense of fatality, though there is a serene and gentle side discreetly placed into their music, that softly displays the most introspective abilities of their art. With a lucid, though sometimes lugubrious atmosphere that highlights the greatest possibilities that the trio’s musical diagram has to offer, The Great Machine certainly has conceived this work as a glorious and ardent triumph of the genre.
With a sound that can be melancholic and lethargic in one moment, and marvelously aggressive and furious on another, The Great Machine reveals itself to be a formidably versatile, genuine, inventive and demanding band, that definitely pushes hardly the volatile boundaries of their expansive creative energies, to offer to their audience the best songs they could conceive, playing them with an astounding level of sonorous exasperation, whose efficient qualities definitely proves why they can be considered majestic exponents in their genre of choice.