Poisonheart-Till The Morning Light

Sneakout Records
2017

I don't know about anyone else, but when I hear the the phrase "poison heart" I can't help but think about The Ramones. Written in 1992 by bassist Dee Dee Ramone, "Poison Heart" is dark and depressing look at the uncaring world that is all around us. It has a simple yet haunting chorus that I can't help but sing as the tragic nature of life unfolds before my eyes. There is no way to know whether or not this Italian four-piece band named themselves after the poignant Ramones' number, but it sure does seem as if this hard/heavy rock group is looking to make the phrase their own. All it takes is one spin of their full-length debut here and that much is obvious. There is a strong and confident vibe at the center of this band. In spite of the many line-up changes and the long time that it took to put out this album out it is there and it is obvious. Having first formed back in the second half of 2000 as a classic glam/punk rock cover band, Poisonheart-Fabio Perini (lead vocals, guitar) Andrea Gusmeri (lead guitar, back-up vocals) Giuseppe Bertoli (bass, backing vocals), and Francesco Verrone (drums, backing vocals)-has come into it's own on "Till The Morning Light". These days the group has all but dropped any sign of their punk rock roots. In it's place we have groups like Kiss, The 69 Eyes, and W.A.S.P. Add in the living legend that is Alice Cooper and you have a nice starting point of reference when it comes to this dark and slightly-edgy recording. Of the ten tracks on Poisonheart's debut, "Anymore" (see the video here ) was the first number that I heard and it makes for a great single. While it remains my personal favorite of the bunch there really isn't a bad track to be found on "Till The Morning Light". That says a lot about the talent of this hard rock/dark rock and roll outfit. Due out later in this month, "Till The Morning Light" shows off the impressive skills of this four-piece band that went from playing covers to performing original material. It will be really interesting to see where these guys go from here.

Etta Zero-The Last Of All Sunsets

Dr. Music Records | Membran
2014

Etta Zero (Mathias Nutt-Vocals/Synth Programming, Johannes Schraner-Guitar/Synth Programming,

Thomas Hemmi-Bass/Piano/Synth Programming and Marius Matt-Drums & Percussion) were a new name for me and, as I clicked play on the promo link for "The Last Of All Sunsets", I had no idea what to expect. Initially formed back in 2000 under the name Downfall, covers under which name the band issued two EPs (one four track EP of original compositions and one four track EP of covers) and original playing rock-based interpretations of 80’s Synth Pop songs the band (who at the time were more or less a Synth Pop Metal outfit) changed their name to Etta Zero in October of 2010 with the (long time coming!) "The Last Of All Sunsets" serving as their debut album. Now a mixture of the past (Synth Pop Metal, dark rock, goth rock, alternative rock, etc.), the present (modern electronic sounds, groove-based rock, modern hard rock, heavy rock, heavy metal and radio rock) and the near future (striking, stylistic heavy electronic rock/metal that sounds like it could be the soundtrack for the day after tomorrow and weeks, months and years to come!) Etta Zero has the kind of resourceful delivery most bands could only dream of! Hailing from the tiny Principality of Liechtenstein, the members of Etta Zone have a clear cut case of extreme chemistry, one which has resulted from the fact that these four musicians (who have know each other since their younger, formative years) have played together in "different formations, casts and styles since the middle of the 90’s". Translated that means you have a band whose debut album sounds as if it's the result of a band that has going at it for years and years and if "The Last Of All Sunsets" is anything to go by the band should have plenty of good years to look forward to! Electronic rock fans would do well to check out the group's choice cover of "Heartbeats" (from Swedish Synth Pop duo The Knife), the emotional roller-coaster track that is "Sorrow" (radio rock is calling for this crusher!), "All That I See", the harsh "Anymore" (where the band draws from the likes of Filter, Coldplay, Depeche Mode and, believe it or not, 90's alternative rock) or "Set Me Free" while everyone else (ie: fans of synth-heavy hard rock/heavy metal) should head over to the melodic metal/modern heavy rock title cut (this one has a sharp set of choppers hiding underneath it's deceptive smile and like "Sorrow", and about four or five other cuts here, is sure to get stuck in your head!), the wicked "From The Ashes", "Etta Zero" ("Black"-era Metallica re-imagined as a modern day, post-grunge, streamlined version of Filter!), the dark metal-infused "The Downfall Factory" and album closer, "Heaven Is Closer". Meanwhile a clever cut like "Crush On You" weaves in and out of both sides of the spectrum (rock rhythms and heavy metal hooks) and for Etta Zero, who (wisely) never overuse the electronic elements, these different takes on the same theme (hard-hitting music) work so well because you have skilled musicians like guitarist Johannes Schraner putting forth their best efforts. For a band that started out playing 80's covers you really have to hand it to Etta Zero. "The Last Of All Sunsets" is everything a debut album should be. It has variety and plenty of memorable moments. More so it has several cuts that could easily be singles and it's one of those releases that has timeless written all over it. Etta Zero might have been a band that I was previously unaware of, but now they appear to a band that I'm looking forward to what comes next!

 https://www.facebook.com/EttaZero

Johnny Wore Black-Walking Underwater

Dead Cherry
2014

Slated for release next month, with two of the albums tracks, "Up In Flames" and the Help For Heroes' support single "All The Rage", having already made the rounds to thunderous approval, "Walking Underwater" is the full-length debut release from (legend in the making) Johnny Wore Black. Fittingly produced by David Bottrill (Dream Theater, Tool, The Smashing Pumpkins, Muse, Godsmack, Between the Buried and Me, Stone Sour, Coheed and Cambria, Silverchair, etc.), as his distinct fingerprints can be seen throughout this endeavor, and featuring the mad skills of Megadeth main-man David Ellefson (credited on "Walking Underwater" as both a songwriter and musician!) this ten-track album somberly walks the thin line between late eighties/early nineties alternative rock and modern heavy rock/dark metal. Mostly melancholy in it's delivery, with the vast majority of these tracks conveying a personal, heartfelt sadness that almost reads like the last words from a condemned man's journal, "Walking Underwater" feels like the soundtrack to an unflinching drama, perhaps even one about man's inhumanity to one another. Up front it most be noted that despite the above-mentioned "dark metal" tag (and really the appearance of one of heavy metal's finest bass players on what is, in essence, a one-man project) this collection of brooding rock tracks plays more towards the comfort of the alternative rock/underground rock scene and should not be mistaken for anything resembling a traditional heavy metal release. Still, the music heavy it it's own right and it is worth noting that it is a tremendous first-effort and it's the personal touch of tracks like "Different Shades", "One And The Same" and "What I Am" that gives an album such as "Walking Underwater" it's strength. And yes, even at it's darkest hour (see "The Battle"), this album is remarkably strong. Not just on moments like "Different Shades", "One And The Same" and "What I Am" (numbers that ache with such personal pain that you can't help but wonder if truly were meant to be shared with the whole world) but also on the aforementioned singles, especially the well-written and powerful heavy rocker "All The Rage", and (personal faves) "One Love Song" and "So Dusted". Other then maybe the over-use of samples there's very little about Johnny Wore Black not to like. Whether it's the album's early singles (the gripping "Up In Flames" and the hard-hitting "All The Rage" should be more then enough to push this album up the modern rock charts) or, if further proof is needed, "Cold Water" and album closer "Outside Looking In" this first release from Johnny Wore Black is packed with cut after cut of powerful and moving material and, tack on the fact that it presents itself in such fine fashion, it should win over the masses for this cleverly-named act. For Johnny Wore Black all the signs point towards success with "Walking Underwater" (hopefully) just the first of many fine moves by this open and honest dark rock band.

http://www.johnnyworeblack.com/

Beastmilk-Climax

Svart Records
2013

Expectations can lead you anywhere. They can a fancy flight of fantasy or a dangerous game of Russian Roulette. No matter what it was that I had hoped to get out of "Climax" or what it was that I had reasonably, or even unreasonably (in retrospect), expected to experience from Finland's Beastmilk, it still wasn't enough. This was still a strange occurrence where we find a band that has fashioned itself around the idea that thier music comes out of the cold and unrepeated wasteland that is a post-apocalyptic world. Recorded with the help of  Kurt Ballou (Converge), "Climax" is the first full-length release from Beastmilk and is an album that I struggle to fully-comprehend and yet wholeheartedly recommend. Formed back in 2010, during a "nuclear winter" in Helsinki, Finland no less, there are so many reasons why I love this release even if I've never been sure why it is that I continue to be drawn to music like this that is both damning and hopeful and haunting and beautiful. If you've ever heard "Gloomy Sunday" then this release is a straight-line drawn in it's own blood from that (reportedly) suicide-inspiring track to the post-post leanings of this 10-track LP. And of course it's a release that opens the door to so many more questions for which I have no answers. But, that hardly seems relevant to the chore at hand which is explaining what is it that I love about "Climax". I have to admit that at least vibe-wise I kept on thinking about the U2/Johnny Cash collaboration, "The Wanderer", which is off of U2's experimental album, "Zooropa" . It's as if Johnny sings "I went out walking under an atomic sky. Where the ground won't turn and the rain it burns like the tears when I said goodbye" as a means of prophesying the coming of  Beastmilk and their 2013 album, "Climax". Now, as I've danced around the topic at hand for far too long already let us expand on that "post-punk" tag that is affixed to Beastmilk. Not once could I have anticipated the near flood-like list of bands that swept over me as I listened to the apocalyptic flavorings of   "Climax". Their seems to be no shortage of bands that make their home in the music of Beastmilk. While the group itself  lists local "old-school legends" such as Nolla Nolla Nolla and Radiopuhelimet (neither of which I'm familiar with) it's bands like Christian Death, Killing Joke, Christian Death, Echo & The Bunnymen, The Psychedelic Furs, Magazine, Gang Of Four, Joy Division (or at least Joy Division on suicide watch),  Peter Murphy solo and with Bauhaus and even a more rock-oriented Depeche Mode that come to mind when listening to "Climax". As if that's not enough there is even some signs that both The Misfits and The Cure may have played a part in the early formation of Beastmilk's (sorrowful) sound. Of course anytime you have a group like Beastmilk that approaches rock music from the perspective of the lost and lonely, or in this case (theme-wise) the unfortunate survivors of an all out global-war,  you're faced with the reality that it's not for everyone. Still, those who embrace the early years of post-rock and dark rock should give "Climax" a chance as this is a album that sounds both old-fashioned and modern.

End Of Green-The Painstream

Napalm Records
2013

Stuttgart, Germany is home-base for the interestingly named End Of Green. Formed in 1992, which means that this group has been going at it for 20+ years now, this actually marks the group's eighth full-length release. And yet this is one band that I can lay claim to having never heard of until this promo showed up in my e-mail. How's that even possible? Given the band's overall dark and depressing nature, which would have proven to be a positive asset in my eyes, it's more then mind-boggling to think that this German band hadn't previously appeared on my radar. Weird. Anyway, as mentioned this is the group's eighth full-length release and, at least from pulling this band up on both Wikipedia and the Metal Archives, it sure does look as if the group has had roughly the same line-up in place since releasing their debut album, "Infinity", back in 1996. Someone please feel free to correct me if I'm wrong, but other then the addition of guitarist Michael Setzer (Icheherntion, Innominandum) on 2002's "Songs for a Dying World" that's the way it appears. Either way, this 5-piece band is rounded out by vocalist Michelle Darkness, guitarist Oliver Merkle, bassist Rainer Hampel and drummer Matthias Siffermann.While I can't personally speak to the nature of their earlier work, which the Encyclopedia Metallum says started out as doom metal, I can say that if someone were to try to get this band, in it's current form, listed in the directory of bands over at the Metal Archives they would be sent packing! This does not sound at all like the type of group that would normally be allowed entry into the site so I must say that I was surprised when, prior to typing up this review, I went looking for back-ground information on End Of Green and found them listed in the Metal Archives. Does the fact that I can't see them being listed there now (in this form) disqualify the band in your eyes? Does the fact that their sound comes off as more rock then metal make you want to say "pass"? It shouldn't. I'll soon tell you why. First things first though. If you're a fairly regular visitor to Heavy Metal Time Machine then you will have no doubt already noticed that (despite the name) everything from AOR to black metal gets covered here. So, even if a band like End Of Green wasn't technically "metal" they would still easily fit into our site in some other shape or form. And I'd make no apologies about that fact. But, what exactly is their sound then if not 100% "metal"? Well, the band itself offers up this self-description: "Depressed Subcore". Huh? Let's just break it down ourselves. While it might not hit all the usual metallic notes all of the time (for it to be classified as strictly "Gothic Metal"), there is more then enough rock and hard rock going on within this album that I could very well see it being appreciated by a wide-variety of our typical visitors-heavy metal or not. The band's objective on the "The Painstream" is to focus on the "last two constants in life: pain and passion". It's obvious then that this band comes packed and ready to work on album number eight and, while it's more then a bit bleak all-around, "The Painstream" does try to offer a bit of hope for the world that they see as being wrapped-tight in darkness. Not that I'd argue with that last point! This is achieved in part by the smooth delivery of vocalist Michelle Darkness who offers the listener a small bit of hope even in the face of despair. For that to work though things need to be balanced between the vocals and the music at hand. Interestingly enough then that it's actually the way in which the vocals of Mr. Darkness sit atop wave after wave of bleak rock riffs that end up giving  End Of Green a certain edge and sense of unity. With bleak rock riffs you get a free side of your choice! There's some post-grunge, alternative rock, goth rock, pop, blues and even post-rock to choose from. It's all there as is a wee bit of goth metal and dark metal. With the goth and dark metal though you'll have to focus in really tight on the music as this is more of a rock ride then one in which you can throw a set of horns in the air in metal salute! Even with that said, "The Painstream" is more then enough to satisfy all your dark needs and, full-fledged metal band or not, it will be getting it's fair share of heavy rotation on my stereo from this point forward!

Orne-The Conjuration by the Fire (Reissue)

Svart Records
2013


It sure seems as if a lot of Finnish bands have been finding their way to my inbox. The latest was Orne who, having first came about back in 1997 (initially as Mesmer before changing their name in 2001 to it's current moniker), is a side-project assembled by guitarist Kimi Kärki ( Reverend Bizarre & Lord Vicar). Originally released in 2006 on Black Widow Records, "The Conjuration by the Fire" was Orne's debut album and it's now getting a deluxe double LP reissue. It's been re-mastered for vinyl, which sounds great if the promo I received is to be believed, and features the 3-tracks from the group's 2000 demo, "A Beginning", as a special bonus. In addition to Kimi Kärki  (who the chief songwriter for this album) on guitar and mellotron player the album featured countless other band-mates and guests. Chiefly interesting is the vocal department where onetime Lohja SS (a hardcore punk band from the 90's) lead singer Sami Albert Hynninen pops in as a guest. This veteran singer, who is also known as Magister Albert and Albert Witchfinder, has had quite the career, what with stints in Reverend Bizarre, The Puritan, Opium Warlords, Armanenschaft, KLV and many more! On this debut recording his vocal delivery is subtle with an earthly air about it. Given the music at hand, which has a real vintage sound to it anyway, Sami's everyman delivery pulls the listener in and makes one feel rather relaxed and carefree. That says something as the music presented here, in a decidedly older fashion, lives within the dark corners of progressive rock. With talented musicians like Pirkka Leino (organ, Rhodes Piano) and Jussi Lisko (soprano saxophone, flute) added in the album is somewhat dream like. It's as if the listener is in a walking dream where Orne has been transported to another time where groups like Pink Floyd, King Crimson and Genesis were just starting out. On this (soon to be a classic) LP lead guitar was handled by Pekka Pitkälä (who, besides Kimi is the only original member of Orne) while bass duties belonged to Antti Fredriksson.  And finally Jari Pohjonen, also known as Void and Jay Lovely, of  Reverend Bizarre, Specie’s Traitor, Confirmed Kill, Vyöhyke and KLV, took care of the drumming. With some guest musicians also added into the mix this soon to be released double LP is one I can't help but enthusiastically recommend! Progressive rock fans likely already knew about Orne, but for the rest of us (and naturally I include myself in this category) the band was once unknown and sadly unheralded. As an album that sounds remarkably classic, with images of 70's progressive rock bands like those mentioned above spiraling through out my head, there's always an audience waiting to soak in and soak up what could best be called a magical album. Defiantly one of those recordings that I hope to enjoy for years to come now that it's discovery is at hand!

Death Trip-Pain is Pain - The Complete Death Trip 1988-1994

Ektro
2013

 
There's a better then average chance that the name Death Trip brings up nothing but shrugs or looks of confusion. Truth be told even I had no idea who these guys were or what they'd be on about when I clicked on the link for this promo. Surprises like that can obviously be both good and bad. Whatever mystery that I had allowed to build up inside of me (in regards to what sort of sonic sensation I would lay witness to) simply washed away as the music kicked in. Any expectations I had about this compilation just didn't matter as the music had swallowed me whole. What Death Trip did was quite simply and yet completely complex. Built upon a solid foundation of fuzzed over and wonderfully distorted guitars (courtesy of influences like The Stooges, The Birthday Party, and Spacemen 3) is a top level that splits time between gothic metal and the early stages of dark metal. This Finnish group helped pave the way for many underground groups in the homeland as well as being a sensation all there own. This compilation gathers Death Trip's three 7" singles (originally released on the legendary Finnish indie label Bad Vugum) and rare demos in order to create a set of explosive, post-punk in nature, violent rants/tracks. Within music that is dark, disturbing and dangerous you find a band that had set out to destroy rock and roll and rebuild it in their own graven image. At it's very core these tracks offer up revolutionary punk-tinged metal that is hostile while also offering up hope for a generation that often felt hopeless. It's not for the faint though as this LP is track after track of built-up frustration and pain so when you listen in to the despair at hand it's all too real. Still, there's something very therapeutic about music that spills it's heart and guts all over the floor. So yeah, any expectations I had about this compilation simply didn't matter in the end. For you see, what laid behind me was music that achieved so much in such a little amount of time. It had made me feel like I was drowning in a sea of darkness and yet, in a very surreal fashion, it had made me feel free as if it were ministering to me. This one is indeed dark and yet it has it's own inert power.
www.ektrorecords.com 
www.facebook.com/ektrorecords