Eryn Non Dae.-Abandon Of The Self

Self-Release/Indepepednet
2018

French metal band Eryn Non Dae., formed in 2001 as END and currently comprised of Mathieu Nogues (vocals), Franck Quintin (guitars), Yann Servanin (guitars), Mickaël André (bass), and Julien Rufié (drums), makes their long-awaited return with "Abandon Of The Self". It was back in mid-December of 2013 when I first covered this dark & experimental metal band (link). . It's taken them close to five and a half years to release a follow-up to "Meliora". Released on March 9th, 2018, "Abandon Of The Self" is the group's third full-length album and their most haunting release to date! Once again mixing in elements of post-rock, depressive rock, sludge rock (mostly in regards to the gnarly guitar riffs!), post-metal, modern metal, and extreme metal, Eryn None Dae. (now coming at you with an extra period at the end!) strikes back at a scene that has dared to forget about them! Heavy, harsh, and as abrasive as ever(!), this bleak and extremely-atmospheric album never loses it's focus...even as it comes crashing towards you like a runaway train possessed by the devil himself!! Comprised of seven wicked wasteland songs, with the shortest one ("Eclipse") clocking in at 4:31 and the longest one ("Halo") running past the 10 minute mark!, "Abandon Of The Self" is like every nightmare I have ever had-only 1,000 times as EXTREME!! As someone who doesn't mind the zombie themes, demonic appearances, and slasher filled moments that constitute an avenge night's rest for me*, that apt-description comes with crocked smile and a pair of devil horns throw high up in the air!! Available on compact disc, vinyl, as a digital download, this 7-track recording is the absolute best studio release that this French outfit has ever released! Dark & dreary, angry, and filled to the tilt with apocalyptic-like rage, "Abandon Of The Self" gets a 10 out of 10 grade and comes with my highest recommendations!!


*I take several medications that are known to cause vivid dreams. At this point in time I have grown so accustomed to the extreme nightmares that it more surprising when I don't have one!

Into the Storm/Smooth Sailing-Split

Self-Release/Independent
2018

Seattle metal bands Into the Storm and Smooth Sailing have teamed up to release this simply-stellar split. Due for release tomorrow, the six-track recording features two tracks by Into The Storm and four tracks by Smooth Sailing. Starting off with the fittingly-named Into the Storm, tracks "Murder Murder Murder" and "So how do you explain all the dead unicorns?" showcase the noisy sounds of this stoner/sludgy modern metal band. Both tracks are epic in their own way, but it's the opening single "Murder Murder Murder" that really wrecks your mind and makes you want to hear what else this heavy-hitting band has up it's sleeves! Formed in 2010, Into the Storm has slowly but surely evolved into a truly-formidable outfit that needs to be heard to be fully appreciated!! Moving past these Seattle sludge warriors, Smooth Sailing might not have the most metallic moniker out there, but their music more than makes up for it! Armed with killer riffs and a beast-mode mentality, Smooth Sailing also flirts with stoner rock, sludge metal, and modern metal on their four tracks. Unlike Into the Storm, Smooth Sailing also tosses heavy (post) rock into the mix. Add in some progressive metal and a brief spot or two of space rock and you have this aggressive metal band that knows how to keep things interesting. It's for that reason that I actually prefer Smooth Sailing's tracks. That being said, Into the Storm is all kinds of awesome in their own right. When you combine these two extreme groups on a split like this the results speak for themselves. Available for pre-order by heading here here, this split release is proof positive that the Seattle metal scene is not only alive, but more menacing than ever!

Nick Oliveri's Uncontrollable-Leave Me Alone

Schnitzel Records
2014

Before we even start with "Leave Me Alone" let's go ahead and establish a quick point of reference just so that we can get it out all of the way. Bassist/guitarist/vocalist Nick Oliveri is primarily known for having spent time with Kyuss (and subsequently Kyuss Lives!), Mondo Generator and of course Queens of the Stone Age. He has also played with the Dwarves and Moistboyz. What's more it is making the rounds that Oliveri is collaborating with the likes of Dave Lombardo (Slayer), Gary Holt (Exodus) and Casey Chaos (Amen) on the soundtrack for the movie documentary "House Of Shock"! So, even if Nick Oliverri is mostly recognized for his contributions to the stoner rock scene this bassist/guitarist/vocalist has seen and done it all. Or at least musically-speaking. But, here's the thing about "Leave Me Alone". Cue the dramatic music because this is not the Nick Oliveri we've heard before and for those looking for past points of reference an album like this one shatters those expectations (along with rock and roll fundamentals!) into a million tiny pieces. In other words if you are expecting something along the lines of Queens of the Stone Age or Kyuss you are going to be disappointed. "Leave Me Alone" abandons those kind of principles. There is just no other way to put it then that. And other than a couple of guests (one of which is Motörhead's Phil Campbell!) "Leave Me Alone" finds Nick Oliveri working solo in order that he alone can take credit for the new direction he takes on his first solo release. It's true that he oft-times discomforting nature of  "Leave Me Alone" is unexpected as it definitely finds Nick Oliveri throwing all caution to the wind! By deconstructing (raw, striped-down and dive bar-worthy to begin with!) rock and hard rock and purging punk rock of what little purity it had left Nick Oliveri has certainly given fans and critics alike something new to talk about with this new release! At it's best "Leave Me Alone" is ramped-up post-rock/punk-rock cleverly disguised as noisy trash metal. And that works! At it's worse though it's an exercise in tolerance and patience where noise is just that-noise. Often times "Leave Me Alone" balances perilously close to that edge (a uneasy tipping point if you will) where one minute it's pure heavy rock/punk rock ecstasy and the next it's merely a bad acid trip waiting to happen. More so "Leave Me Alone" kind of carries itself as if it is a live album misdiagnosed as a studio recording. What happens to work great live (bare naked riffs, grungy bass lines and clunky drums) is a different animal all together behind the paddle walls of a recording studio. I suspect the bulk of what's been laid out on Nick's first solo album (the unedited moments where this vocalist/string-man just goes with the flow and improves punk rock and roll) would go over gangbusters in a live setting. Otherwise it is suspect to interpretation (ie: is this true, unfiltered and unspoiled post-rock art or is it much ado about nothing more then unrestrained noise?) more so then a statement one way or the another of whether or not is is good. Honestly I fall more of the side of "Leave Me Alone" as a good album with quite a lot to say, but there is a case to made that the "Uncontrollable" part of this project's title might be more than mere words....

Disparager-Timeless, Ageless

Self-Release
2014

Only a year old now, Brooklyn, New York’s Disparager offer up their first studio piece with "Timeless, Ageless". The band's debut EP was produced, recorded, mixed and mastered by Jay Maas (Defeater, Bane, H2O, American Nightmare, Polar Bear) and for a relatively new project the musicians involved here (Chris AhKao – guitar, vocals, bass and Peter Meluso – drums) did a rock-steady job of capturing their post-hardcore/ post-metal (and post-rock if you really want to be technical about it!) sound on tape. Opening number "Picture" only has a run-time of 3:26 and yet this (post-metal/progressive metal) heavy rock track covers so much ground that you'd swear that it was originally meant to provide a lifetime's worth of rocking out! From there the band serves up as much metallic fury as humanly possible (presented here in blood red color via post-Black Sabbath riffs and time-signatures that would seem to reflect a certain for knowledge of  heavily experimental bands such as Tool, Neurosis, Isis and even Fugazi ) while taking a detour on a number like "Gratitude" in order to take in the sights and sounds of groups like Mastodon, Deftones, The Mars Volta, Sevendust, Nothingface and Thrice. Frontman Chris AhKao is at his best though on a track like "R.I.P. Bill Hicks" as here (over-top of hardened, slick & sick as fuck, post-Refused guitar rock) his wicked as shit voice takes on a greater sense of urgency. It's almost as if he seems to want to shout down the crumbling word that surrounds him while he's simultaneously being tossed about by wave after wave of  people and their frustrating state of apathy! As Chris himself explains it Disparager's music is meant to showcase a "refusal to settle, to compromise, to live any other life than that inspired by unwavering intent, self-expression and integrity." To that end Chris and the band, which is pictured below in it's full live and in living color line-up, hit the nail on the top of the head PERFECTLY. And by perfectly one should also mention that it means by way of post-hardcore/post-metal ass kicking! Just when you think that you've got the band pegged though they pull out the acoustic guitars on "At Least I Still Have Bon Iver", a number that is perfectly self-described as "half folk song, half crushing mix of Isis and Slayer". Where did that come from? Other then from out of nowhere I mean! It's different, but in the sense that it's a different example of this group's devastating assault on the senses! And in the end that's what this little display of sonic post-rock and roll/post metal is all about-assaulting the senses! What a damn fine state that proves to me...

L-R:  Chris AhKao (guitar, vocals), Jason Kim (guitar), Peter Meluso (drums), Sri Rao (bass) – Photo credit:  Merissa Blitz

http://disparager.bandcamp.com/releases 

Swans-To Be Kind

Young God, Mute
2014

In 1982 multi-instrumentalist Michael Gira (formerly of New York post-punk act Circus Mort) put together the innovative Swans. Three years later Ted Parson joined the group as their drummer. Then in 1987, after a few years spent recording and performing with Gira's experimental rock project, Ted Parson went off and joined Tommy Victor's Prong*. Sometime after that (my best bet would be 1989 or 1990) I happened upon a write-up on Prong (in some long-defunct metal fanzine) where, in the long-awaited wraparound piece where we get to the root of this intro, mention was made of the fact that Ted Parson used to play in New York's Swans. My curiously getting the better of me (a all-too-common problem during my teen years that resulted in one misadventure after another!) I sent away from some Swan material (I want to say it was the group's 1984 EP, "Young God", which, ironically enough, didn't include Ted Parsons!) and from that moment on I had a soft spot in my heart for the band's (then harsh!) take on post-punk. Over time I've picked up odds and ends material from the group** although I can honestly say that I haven't paid much attention to what the group has been up to the last 5-10 years. Now I come to find out that the group is on their 13th studio album(!) with the self-produced "To Be Kind" and it is a dozy! Available as a double CD or a 3LP set (how cool is that!!!!), "Too Be Kind" finds 2014-ear Swans in prime form! Long ago abandoning the harsher side of their sound, today's version of Michael Gira's Swans (or should we call it today's vision of Swans?) focuses on memorizing passages, experimental rock movements and subtle nuances to achieve a broader vision. Over two hours in length, "To Be Kind" is nothing short of an adventure with artificial sounds mingling with strings, brass and "traditional" rock/post-rock instrumentation. There's primitive blues rock notations stacked side-by-side with the band's synth-heavy early work (pointing towards Swans post-Kraftwerk inspirations) and within this man-made masterpiece of experiment rock and roll one can't help but notice how Gira simply is not afraid to take the group's music wherever it happens to please him. That is an admirable quality to have, but unlike far-too-many experimental rock albums (where the message is lost somewhere along the way and said ambitions end up being washed away thanks to an out of control picture of what works well in theory but not necessarily in practice!) a double album like "To Be Kind" actually works as both a statement and a soundtrack! This one isn't just experimental, expanded far beyond the reach and normal expectations of post-rock, it's enjoyable as Gira is a master at creating music with heartfelt sentimentalization. For Swans fans Gira has been building towards a release such as this one, but for those who might be dropping by unexpectedly "To Be Kind" might be a surprise, a real awakening to the awe-struck capability of this long-running New York post rock project. For someone like me, having been exposed prior to "To Be Kind" to both sides of this coin that is the Swans,  expectations that it would be good were squashed early on by the reality that we might just be looking at one of the greatest musical acts to EVER come out of New York! In fact I actually found myself wondering if a band like Swans isn't the real face of modern day rock and roll, illuminating not only New York night sky, but far beyond our boarders and out into the world. What other (currently-active) rock band compares? U2? Not even close. Coldplay? You've got to be joking! No one can touch the brilliance of this act or "To Be Kind", one of 2014's BEST releases! There are a millions reasons for "To Be Kind" to be on everyone's lips, but are we beyond that point as a society thanks to the pure dredge that is broadcast on the airwaves? One has to wonder. You and I though can make a difference. "To Be Kind" is an appropriate title. To be kind to today's generation and save them from themselves we must give the gift that keeps on giving-good music. Purge society of generic pop and silly crap that is passed off as "rock". Take down corporate radio and replace it with a real message of hope. Has today's generation been brainwashed past the point of no return? Only we have the power to find out. So pick up "To Be Kind" and join the fight to save rock music from those who would corrupt it, maybe even destroy it for greed and huge profits.

*Prong also has a new album out for 2014 which I hope to review within the next day or two.

**At one point I had lots of Swans on cassette (both "official" and tapped) as well as on CD (same deal!). If now pressed though I would be in trouble if I had to find it. Somewhere between moving from our old apartment to our first house and then (post-divorce and forced to downsize) moving from our house to my current location I misplaced a ton of music. It's likely still here somewhere, but considering the size of our new place (and by "our" I mean the kids and I) I can't be sure where I put it all!

Purveyors Of Fiction-Invisible Ink

Refried Audio
2014

As promised this is the second band/second release from well-traveled musician/versatile lead vocalist Nick Pecone (Burns To The Soul, Carriedbysix, ex-Uptight Sugar, ex-Autumn Awaits, ex-Diablo Mojo, ex-The Bentreys, ex-The Decoys and ex-Vrede Hemel) to be covered here at Heavy Metal Time Machine. The previous act, as some of you may recall (ie: the handful of loyal readers that I have who remain under lock and key at the various prisons and mental help facilities across this great land of ours), was Ohio modern metal/progressive metal band Carriedbysix (http://metalmark.blogspot.com/search?q=Carried+By+Six-Carried+By+Six+) who, unlike today's entry, fell squarely into the more "loud and proud" category. But, before we get into what makes this trio tick how about a little bit of history? Here's the "official" bio as sent to me by Nick Pecone (lead vocals & bass) himself. "Nick was drunk at the Agora bitching about how they stole his boxcutters he'd forgotten on him from work. He told Drew* he'd start a band with him because Nick starts bands when he's drinking. Drew thought Nick was a creepy dickhead but he'd suffice until he could find someone new. Drew and Luke were already friends and with Nick they had a full lineup so the band formed. At this point no one has come forward to replace Nick, unfortunately, so he's stuck in the lineup". Got that? Yes? No? Need more help? Alright. So, besides Nick Pecone** of course, Purveyors Of Fiction features guitarist Andrew Minor (Twat Waffle) and drummer Luke Heberle (also the guitarist/lead vocalist of Sails). On their new, just recently-released so it still has that new car smell folks(!), six-track EP, "Invisible Ink", vocalist Nick Pecone and company offer up what they call "stoner blues punk". Of course on their Facebook page Purveyors Of Fiction  is also described as "A Heavy Psychedelic Blues-Punk Trio". Now, if you are like me at all (in which case I truly do feel remorse for you!) you'd probably think of Blue Cheer if you heard the phrase "Heavy Psychedelic Blues-Punk Trio". Or at least something similar. The truth is Purveyors Of Fiction, which lists there influences as being Queens of the Stone Age, The Misfits, Boris. Nick Cave, Tom Waits, Bad Religion and Wisdom In Chains, are all of that (stoner, punk, blues, psychedelic rock) and much, much more! And that's what makes this EP a sure-fire pick-up! These six tracks, which end up clocking in at about 23 minute, really do cover a lot of ground. For example, opener "Veins" is fuzzy, feedback-infused post-rock/grunge (Swans meets The Velvet Underground meets Nirvana perhaps?) while "Darling Darla" (great title!) reminds me of both Blue Cheer and the Butthole Surfers! "Good Man" is blues by way of acid rock and then there's a cut like "Drowning" where, under the cover of night and layers of distortion, this trio trips the light fantastic with some wonderfully diverse groups such as Queens of the Stone Age and Iron Butterfly although honestly there's plenty of love shown to both The Germs and Iggy & The Stooges as well! Closing cut "Gypsy" sounds like Beck being covered by a super-group made up of members of The Melvins, Sonic Youth and Suicide, all of which wraps this EP up in a rather lovely fashion! Length-wise the shortest track here is the dirty punk rocker "Poison Kiss" at 2:46 while the aforementioned "Darling Darla" (again, just love that title!) has a run-time of 4:30. Translated that means that not one of these tracks over-stays it's welcome. Available at a price of $5.00 (for the digital download at least which is linked below), "Invisible Ink" is a worthwhile pick up for punks and bangers alike!

*Otherwise known as Andrew Minor!

**While racking my head trying to figure out who Nick reminded me of in this band (as he really is a versatile front-man as observed in the different delivery he provides here verses Carriedbysix!) I stumbled across this review (http://www.youtube.com/watch?v=BeouLbRXoOc) on YouTube. As I believe in giving due credit where credit is due (sorry, but I couldn't help myself with that little bit!) I want to thank "Master Exploder" (no doubt his Christian name right?) for pointing me in the direction of Wolfmother! Here in Purveyors Of Fiction vocalist/bassist Nick is (at times) almost the spitting mirror image (vocally) of Wolfmother founder/vocalist/guitarist Andrew Stockdale! It would have driven me crazy if not for this helpful hint so I tip my hat in appreciation and offer up a tall cold one to you, Mr. Master Exploder! Thanks!


http://purveyorsoffiction.bandcamp.com/

French Metal Friday: Agrion Splendens-Agrion Splendens

Braincrushing Records/A l'ombre de cette vie
2013

Released at the start of March, 2013, which was somewhere close to the range of two years after the group's formation by guitarists Vincent (ex-Jahiliyya) and Sally (ex-Barbarian Koala) - Limoges), "Agrion Splendens" came my way courtesy of fellow French act Ethersens. Soon after their initial formation, with (dual) voclaists Laurent (Wonderbar) and Mathieu (Eryn Non Dae), bassist Damien (ex-Nutcracker) and drummer Colin (drums) serving among the original line-up, the group went through some shake-ups. With Laurent Mora now fronting Ethersens and Yoan (ex-Disclosed Silence) taking over for the departed Colin this Toulouse, France-based band seem to be a point where they have gotten the who's who straightened out (line-up wise) with the actual "what" (as in what these French post-rockers like to lay down jam-wise) having fallen nicely into place as well. The likes of Isis, Cult Of Luna and Neurosis come to mind as "heavy and dirty riffs with powerful bass-lines" (their words) fill in the spaces of what amounts to a twisted tale of post-metal and post-hardcore rock-leanings. Every-bit as dark and foreboding as one could imagine given the key "buzzwords" (post-this and post-that with dirty riffs and clean/harsh vocal foreplay) Agrion Splendens, the band and this self-titled post-apocalyptic sound-scape, are worth a listen if ones tastes often times flow over to the not-so-sunny side of life!
http://agrionsplendens.bandcamp.com/

Seafair-Photographs

Self-Release/Independent
2013

On the surface it might seem strange to have a band like Cleveland, Ohio's Seafair grace the pages of a site like Heavy Metal Time Machine. Formed in late 2010, and with rumors suggesting that their humble roots were at one point planted deep within punk rock's soil, Seafair would likely be dubbed an indie act by the press at large. And yet, as characterized by the group's latest EP "Photographs", these Cleveland scene-toppers offer so much in such a small package that even a slightly-cynical old man like me can't help but smile in appreciation! With her instantly-heartwarming voice, Chayla Hope (who also provides splendid pop keys for Seafair) highlights this act. Fairly-accurately described as bellowing, her classy-style of singing is something that one would naturally expect to find topping the charts of  pop radio not fronting a local band from my part of Ohio! Meanwhile bass player Joshua Riehl (a holdover from the group's early days) and drummer Ryan Kelly (of Cleveland favorites, Unsparing Sea) toss a charismatic rock beat towards the listener and, with little hope of fighting back against the groove, it's a clear-case of hook, line and sinker! As for strings? I mean besides the intricate indie rock bass lines of  Joshua Riehl. Well, that's where the real fun begins when talking about a one-of-a-kind act like Cleveland's Seafair. Along with solo-artist turned (smooth as silk) guitar hero Michael Flaherty (a fine six-string musician whose playing adds to the elegance at the heart of this Ohio act) the band employees a classically trained cellist in Tara Hanish (also formerly of Unsparing Sea) and a classically trained violinist in Andrea Belding! All of which does make Seafair's second overall EP from last November (the first being "Paintings" which was released in May of 2013) a bit hard to describe on paper admittedly (especially as it pulls from pop-rock one moment before shifting over into post-punk territory the next while simultaneously having these delicate classical music elements that I absolutely adored!). Still, even if I can't quite put my finger on what Seafair is supposed to be (live shows reportedly expand the experience ever further with "elements of rock, pop, indie, punk, disco, some blues, and sprinkle a coat of classical on the top of it"!) or how they are supposed to be described (even they kid about such matters as evident by their Facebook page) I know enough to suggest that "Photographs" is as quirky as it is fun! It's geared towards pop fans mostly, but with the ghosts of many a great indie rock band floating around them and the obvious way in which post-punk's shadow can be observed in it's background this one has greater potential then I can properly put to pen. Definitely needs to be heard if one is to truly appreciated everything this act has to offer. 

http://seafairtheband.bandcamp.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.

Australasia-Vertebra

Immortal Frost Productions
2013

Back in June of 2012 I found myself wrapped up in the sounds of Australasia's debut-recording, "Sin4tr4", which saw the fields of post-rock and post-metal expanded upon and shifted into a new beast. It was the album's change of pace atmosphere and it's willingness to embrace new elements that made "Sin4tr4" stand out. Chances are most people won't remember that review though or, if your new here, even know the name so I've posted the link below to that review. It's been a little over a year since that time and now Australasia's sophomore record, which was recorded at Last Floor Studio (San Michele Salentino) and mixed and mastered at 16th Cellar Studio (Rome) by Stefano "Saul" Morabitor, manages to effortlessly pick right up where that album left off while it also showcases the necessary growth and creative expansion needed to keep this Italian group ahead of the pack . While the new album does feature guests like Mina Carlucci and Giuseppe Argentiero of Vostok, it's multi-instrumentalist Gian Spalluto that remains the main driving force here and it's his dreams and inspirations that helped set the blue-print for album number two. The group's main influences are said to be Red Sparowes, At the Gates, Joy Division, This Will Destroy You, Angelo Badalamenti, Mogwai, Pelican, Hammock, Ennio Morricone, Rothko, Cult of Luna, Alcest and Lymbyc Systym, but all you really need to know about "Vertebra" is that it has it's own free spirit and that it lovingly encompasses the listener with radiant energy. Australasia's debut-album, "Sin4tr4", followed a similar theme, but here on "Vertebra" it's this almost dream-like atmosphere, and the way it which the group sinfully entices one with the use of synths, that stirs the emotions in a much more meaningfully way. As a group, Australasia has taken the next step in it's evolutionary development and with this album's intricate collage of post-rock, atmospheric rock, mellow metal, vintage electronics and intimate, classic guitar riffs this one is simply not to be missed!  
http://metalmark.blogspot.com/search?q=Australasia


facebook.com/australasiamusic

Reka-I

Moment of Collapse Records

2013

As of late, and on my own dime, I've been on a bit of a quest to explore new bands (new to me) and boldly go where no man has gone before ( Sorry, but I've also been watching way too much Star Trek as of late as well!!!!). Therefore, with an iTunes gift card in hand, which was actually discovered while I was cleaning out my work desk over the weekend (When I bought it  and how it ended up stuffed way in the back of my desk remains a mystery?), I decided to check out the new rock and metal releases. Moscow's Reka, which was strangely listed under "rock" first with a "Death Metal/Black Metal" tag following the "rock" label, peaked my interest so I decided to download "I" and see what's what. For the sake of clarity it appears as if this 5-track EP was actually self-released back in April of 2010. I'd only find that out later when I went looking for information to post with this review. But, that's no biggie I figured. The group, which was formed in summer of 2007, is made up of musicians who spent time in the screamo bands Optimus Prime and Forutnae Verbera. Who plays what though on this EP isn't exactly clear. The group's Facebook page does list numerous musicians, but whether that is the line-up here or not is not exactly clear. I've provided a link for the group's Facebook page below though for the curious. If anyone does know the actually line-up here then please drop me a line. Otherwise we'll just say that Reka is made up of screamo musicians. That of course does bring up another important piece of information that should be clarified. Moscow's Reka are not exactly a "Screamo" band nor are they a "Death Metal/Black Metal" band. At first the samples I heard of iTunes made me think that Reka might be a black and roll type band, but they were not exactly that either. When I finally got a chance to listen to the whole EP after it was done downloading I discovered something way more interesting then even black and roll (and I find black and roll really interesting!). The best way to describe this Russian band's sound would be "atmospheric post-metal/post-rock". That said, there are a few flash-back moments when it's clear that the band members of Reka do come from other screamo acts and there are also tiny fragments of dark metal and sludge as well. For the most part though this is easily- accessible post-rock/post-metal with really subtle passages of (cool) rock. The EP swings from peaceful to intense of course, but the way in which the songs are arranged is suggests a band that knows their way around the virtues of traditional rock. If this is at all indicative of the group's other recordings (as other recordings did follow this EP) then I just might have to download more music from this Moscow act!

 https://www.facebook.com/rekaband

http://reka.bandcamp.com/album/i 

Civil Protection-Stolen Fire

Bunnysnot Records
2013

It was back in 2010 when a group of friends, partly inspired by a love of bands like The American Dollar and Mogwai, decided to pool their talents and come up with their own band. Despite their individual hometowns "spanning the length of the United Kingdom", which could (and most likely did) easily create all sorts of problems, the guys in Civil Protection honed their skills over the course of some early demo releases before signing on with Bunnysnot Records to release their full-length debut album. With "Stolen Fire" the group, vocalist/guitarist Adam Fielding, guitarists Nathan Bradley & Josh Clark, bassist Philip Birch and drummer Kenny Skey, has pushed themselves hard in order to create a debut-album that demands to be noticed! Their music is is boldly post-rock and it's clear to see that Civil Protection is certainly not shy when it comes to tinkering with that sound while in the studio! After working with Active Audio studios the result speaks for itself. Here is a group that, having grown from it's humble beginnings, has branched out musically. Seeing as their full-length debut album offers fresh and original material that is both treasured and tragic it's not that far-fetched to suggest that "Stolen Fire" will make it's way onto one of more year end "Best-Of" lists! Even though they were born from the shared love of The American Dollar and Mogwai and had their sound further nurtured thanks to support shows with Vasa and The Indelicates (both of which were/are like-minded acts) the group found their own pathway. Granted, that pathway was once paved by the likes of This Will Destroy You, Godspeed You! Black Emperor, Caspian, If These Trees Could Talk, Maybeshewill, Tool, Nine Inch Nails, Pixies, Smashing Pumpkins and Pink Floyd, but here on "Stolen Fire" things do come together in a rather splendid kind of way. "Stolen Fire" sees a band that can move between (and sometimes even converge the two extremes) these beautiful passages and haunting melodies while making it all seem so natural! Such a talent should never be taken for granted so when this album sees it's release later on in October it should be rapidly picked up and devoured by any/all post-rock fans. As for everyone else? That just depends on how flexible you are when it comes to your personal tastes in music. Of course that can just about be said about any album posted here right? For every album that gets covered here on HMTM there is likely someone somewhere who thinks it is all a bit "off ". Given all of that, an album like this (where words like "ambient" and "experimental" could be thrown around) might not be "everything for everyone", but for those who crave life with a little bit of "spice" added in then this album, which I really just outright dug, should be on their radar. 

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!

Mainland Divide-An Introduction to Moderation

Mutants of the Monster
2013

First of all who else just loves that record label name? That right there is straight off of the last train to weirdsville and man, if I don't just totally dig that name then I'm just lying to myself. It shows quite the bit of  creative oddness as does this instrumental recording from Little Rock, Arkansas' act Mainland Divide. OK, Mainland Divide is not really all that odd or weird I suppose. I mean here we have this charming little debut-EP where, despite what that album art-work might suggest, the landscape is beyond lush as it overflows with the sounds of  dreamy indie pop by way of a laid-back, blissfully melodic, post-rock outfit. It's only weird if you consider how splendidly the whole package works without me ever wanting to shout "Sell-outs!" or "That's a piss-poor attempt commercial pop rock" at my stereo. Not that I do that a lot anyway, but it has happened and might very well happen again down the road. Anyway, without a doubt this EP recalls so much of the dream-pop/alternative-pop of the nineties as well as some of the shoegazing movement that came out of the UK back in the eighties. While it might seem like an odd release to cover here at Heavy Metal Time Machine it's just too good to horde all to myself. Besides, our site tries to cover a little bit of everything so a band like Mainland Divide is welcome here anytime especially if they come bearing such a dreamy little gift like "An Introduction to Moderation"! Look for this one at the start of September.

Cerulia-The Wishing Tree Volume II: The Birth of a Titan

Koala Chowder Records
2012

Last Friday night, August 2nd of 2013 to be more precise, I headed down to a small club in Kent, Ohio (my old college town) to catch a live show by my friends in The Approach and the Execution. Among the other opening acts, as the headliners were actuary the rather cool Erasing Never, was a 4-piece band by the name of Cerulia. Having never heard of them before that night I didn't quite know what to expect. Dressed in outfits that would seem to be more befitting for a emo act, or perhaps even something as simple as a college rock outfit, this four piece band quickly proved that any assumptions on my part were way off! For that I do apologize to these Knoxville, Tenn. natives. For you see, once the band hit the first opening notes of their set it was game on! In a word these 4 band mates were HEAVY. Imagine a cross between post-metal, progressive metal and death thrash with both clean and harsh vocals and you would be close to what these guys were laying down for the small crowd in attendance. As they had CDs for sale I quickly snatched up this 5-track release for future listening pleasure. It was Saturday before I had a chance to slide the disc into my stereo and take a look at the actually CD packaging. Two things then struck me. The first was that Cerulia was a Christian act. From the band-mates themselves: "Cerulia's music is based around a story line that incorporates American folklore, Greek Mythology, and Biblical History. The Wishing Tree series follows the lives of characters Zedekiah Arnold (The Titan), Nanabozho (The Demon), and James Paul Bunyan and John Henry (The Sons of Thunder).". That's all cool by me. The second thing that stood out was the fact that the actual music on the CD was a bit more mellow. Hold on though for you see that was actually a good thing. The four members of Cerulia are still kicking out some sick post-metal/progressive rock on "The Wishing Tree Volume II: The Birth of a Titan" (which is incidentally their debut-release), but here in these 5 tracks there was a lot of experimenting going on. The music is well-crafted with more then enough technically savvy playing to appease progressive metal fans while it's keen sense of melody, and the occasional rock-like song structures should easily draw in the heavy rock crowd. With clean vocals, and even cleaner cord changes, and lyrics that offer universal appeal this is one band and one CD that I'm glad I took a chance on!
http://cerulia.bandcamp.com/album/the-wishing-tree-vol-ii-the-birth-of-a-titan

You Slut!-Critical Meat (Re-issue)

Stressed Sumo Records
2013

I'm not sure which is better, the band's name or the record label name. Both rock. You Slut!, who hail from Derby, Nottingham, formed in 2004 with "Critical Meta" being their 2007 full-length debut album. An EP, "Grit Eyed & Greasy Tailed", had been released in 2005, but for all intensive purposes this 8-track album had been their real deal. It's a real "stab society and all of it's hipsters in the eyes with a sharp stick" kind of record if you will with this 4-piece having had a sold out album on their hands. As for the reissue the band took what had obviously been a damn fine album to begin with and then when and analogously remastered and repackaged the album into a nifty digifile.This instrumental 4-piece are somewhat math rock although their also a bit of an indie rock/post-rock/post-punk kind of creature so it's all good in the end. While the name and song titles might come off as comical in nature there's actually a lot of skill going on here and the album, as an overview, offers up experienced rock that's quietly quirky. Look into this one if your side-hobbies include math rock or indie rock or if you're just set of flexing your musical tastes.

http://stressedsumorecords.bandcamp.com/album/you-slut-critical-meat-remastered

On a Bridge of Dust-Facing the Opposite

Self-Release/Independent Recording
2011

Released back in 2011, and acting as a proper introduction to this Italian-based post-progressive/alternative metal 4-piece act, it's only now that "Facing the Opposite" is making the rounds to various music-blogs for review and much-warranted promotion. Why it's taken several years for the album to get out to it's target audience is any one's guess, but for whatever reason, and sometimes for no reason at all, albums just slip through the cracks. Here it is 2013 and well, as luck would have it, this Italian band has just now fallen in with the right crowd as there is now a serious push being given to this (relatively) young act. To quote Guns N' Roses: "All we need is just a little patience". The band, which was formed in Verona in 2008 by some musicians/friends, forged their own identity over the course of  two demos before hitting the studio for what would become "Facing the Opposite". As far as debut-recordings go the band (Timothy Bertolini-vocals/guitar, Daniele Pasetto-vocals/guitar, Gherardo Sabaini-bass guitar and Jacopo Frapporti-drums) deserved better then the original fate of this album would have suggested. Without heaping undue praise upon this album (as it does carry more than a few traits of it's obvious influences) the fact remains that, for a debut-release, "Facing the Opposite" is a well-designed/fine-tuned piece of plastic (to use an old term to describe a new record). Influenced one hand by such bands as Tool, Katatonia, Mastodon and Isis this Italian group also had/has a passion for Porcupine Tree, Radiohead and Mogway. It's actually somewhere between Tool and Katatonia that most folks would agree is where this young band firmly plants it's feet. As someone who is not as well-versed in all things post-progressive as I'd like to be (let's face it friends at my age there's only so much new knowledge that can be crammed into this head of mine without something else spilling over!) I will simply state that I hear the Tool and Radiohead influences as well as the Porcupine Tree, Mastodon and Isis leanings. Whatever or whoever you decide to reference back to tends to be a mute point though when you're talking about the quality of the material on hand. The music here invokes an emotional response and the band, with a keen eye focused on making the music inspirational and interesting, utilizes all the tools (no pun intended!) at their disposal to keep you glued in place as the music washes over you. At times, thanks to some creative use of keyboards, the music does take it's chance on becoming too much too soon, but it skirts that line like thread through a needle. As this is simply album number one for the band (and seeing as they have no doubt evolved since this one was originally recorded) there's a bright future ahead for this bunch if they can keep their compact chemistry in check. I look forward to hearing more from this Italian group down the road.

http://onabridgeofdust.bandcamp.com/ 

Palms-Palms

Ipecac Recordings
2013

Palms is a post-rock outfit that was formed from the smoldering ashes of post-metal band. In this instance the post-metal band we're talking about is Isis. As it turned out Chino Moreno (famously of the Deftones) was a fan of Isis so, when that band called it a day and shut off the lights, Chris stepped in front of the mic from Palms. With three former members of Isis in tow (Bryant Clifford Meyer-guitars & keyboards, Jeff Caxide-bass & keyboards and Aaron Harris-drums & electronics) and Chino Moreno on the mic this had either the potential to be beautiful or, if the four musicians were not careful, this risked sounding like left-over Isis material as interpenetrated by the Deftone's front-man. Thankfully it easily sails into that first category and, while not a 100% perfect release, this self-titled debut-album is still quite the remarkable achievement. Let's call it like it is and state the obvious. The strong song structures on display here are born from the same creative juices that made Isis so appealing to begin with. There's also no way you could go about denying Moreno's input on this material. In all these four musicians do pull from some very familiar sources, but here, merged between the cold dead of night and the bright warmth that is the California sun, feelings quickly turn to how Palms, perhaps after having locked themselves in a room with nothing to listen to but LP's by Sting, U2, Depeche Mode, The Smiths, The Cure, Pink Floyd and the Smashing Pumpkins' "Mellon Collie and the Infinite Sadness",  etched out softer, more subtle rock! In fact it's this emphasis on a more natural vibe (that also made thoughts turn to later period Cave In) that cuts right to the deep heart of what makes Palms work so well. For you see within these tracks we find four different souls flexing their creative nature while giving the listener music that is more of a suggestive whisper then a metallic thump.There's no escaping the reality that some of what's on display here might be a tad slow-building, but the payoff is well worth it! Slow and steady the band rocks out with this somewhat dense (and yet magically natural and lovingly haunting) thickness lying beneath the surface. Once you get underneath the sheets with Palms debut-album it's one of those cases where you find that's it's hard to ignore the comforting intimacy this group has to offer. Another best of 2012 release in the making? That very well could be the case.

Australasia- Sin4tr4

Golden Morning Sounds
2012

When I started writing for Heavy Metal time Machine there was no way for me to foresee the unusually  large assortment of instrumental demos and albums I'd be asked to review. For someone like me (who didn't really appreciate instrumental rock or metal for a huge chunk of my life) it's been this enlightening moment where I've come to not only appreciate rock and metal sans vocals, but actually embrace numerous acts within the field. Australasia are one such act in that I truly appreciate what they are going for on "Sin4tr4" (the bands debut-album) and the way in which it unfolds (even if this 7-track EP is not perfect per say). This Italian group features two musicians (Gian handles guitars, bass and synths while Rico handles the drums) and musically it's a tale of two cities. Half of this is heavy (incorporating a hodge podge of extreme styles from post-metal to black metal) while the other half is heavenly (blissful alternative rock/shoegaze). You see this is in the album's opening numbers as "Antenna" is this melodic and beautiful power rock/alt rock track while "Spine" is just HEAVY post-metal with an emphasis on heavy. On some tracks (such as the unholy/death-tinged "Retina") the band digs deep within to create a true sense of unease. This gothic number stands in stark contrast to songs like "Apnea", "Satellite" and "Fragile" which are all so innocent and happy. As such there is enough here to entertain whatever mood you might find yourself in. Of the 7 cuts my favorites would have to be the post-metal, twisted stomp of "Spine" and (even if it does stand out a bit from the EP's other tracks) the dreamy, pop-like "Apnea". These two numbers are at opposite ends of the spectrum, but each resonated with me. As the EP flows back and forth, the heavy to the heartfelt, you'll discover that Australasia are equally adapt at utilizing modern electronics as well as vintage synths (and even organs!). Also, in what most certainly was a case of  choosing atmosphere over something overly glossy, shinny and glossy, the band's debut-EP has this almost subtle production job. It isn't raw of rough by any means. No, its more like the band kept things simple as far as the production went so that the music never gets all fanciful. Since I previously mentioned how this wasn't a perfect recording it should be noted that it takes a few listens to get to a point where you appreciate all the subtle differences between a few songs. On my first run-through I noticed that some of the tracks blurred together, but repeated listens cleared this up. As technically savvy as the pair are there is still this simple elegance to "Sin4tr4" to be appreciated and, with time, there's no telling what wondrous creations this post-rock/post-metal duo could give us. Find out more below.


Website: http://www.australasiamusic.com
Facebook: https://www.facebook.com/australasiamusic
Bandcamp: http://australasia.bandcamp.com
SoundCloud: http://soundcloud.com/australasia
Last FM: http://www.lastfm.it/music/Australasia?ac=australasia
YouTube: http://www.youtube.com/user/Australasi4
Itunes: https://itunes.apple.com/album/sin4tr4/id542593421


Videos:

“Spine”: http://www.youtube.com/watch?v=seZgDPCBdLU

Free Metal Monday: Light Bearer-Silver Tongue

Self-Release/Independent
2013

Have a bad case of the "Mondays"? Chances are pretty good then that this sorrowful London act isn't going to help. If anything Light Bearer (A funny moniker as this is, in it's own way, very dark and depressing material) will make you want to crawl back under your bed covers and forget about the world around you. With the 18 minute "Beautiful Is This Burden" setting the pace early (It's equally beautiful and dreary) this band knows how to slowly build up tension as they carefully pull you into their web of despair. If Pink Floyd had been more of a post-rock band (That was into doom, drone and black metal) then this would have been the result. Check out this free album below.


http://lightbearer.bandcamp.com/album/silver-tongue-2