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#alternativemetal — Public Fediverse posts

Live and recent posts from across the Fediverse tagged #alternativemetal, aggregated by home.social.

  1. 🔴 LIVE NOW ON VORTEX
    📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
    ──────────────
    🎵 Deftones - Urantia

    ▶️ Écouter / Listen : VorteX [Radio]
    lesonduvortex.net

    💬 Join us on Discord:
    discord.gg/d82hJZBeDE

    #VortexWave #Deftones #PostMetal #AlternativeMetal #2000s

  2. Toxicity turns 25

    #systemofadown #toxicity #rock #rockmusic #music #musicsky #musiciansky #alternativemetal #numetal #rickrubin System of a Down releases Toxicity on September 4, 2001 -- a time when nu-metal was dominating hard rock. But the band managed to sidestep the genre's cliches, delivering a breath of fresh air with some erratic tempos and middle-eastern melodies. Not to mention the political statements. Legendary producer Rick Rubin helped focus the band's…

    robinbannks.com/2026/09/05/tox

  3. On 4 September 2001, System Of A Down released their second album, Toxicity.

    Establishing their framework of dynamics and experimental elements, they delivered — seemingly eternally relevant — songs about the prison-industrial complex, class war and police brutality, while still going platinum.

    "Pushing little children
    With their fully automatics
    They like to push the weak around"

    - "We can′t afford to be neutral on a moving train"

    03. Deer Dance

    #SystemOfADown #NuMetal #AlternativeMetal

  4. Disco del mese 🏆

    👤 Chat Pile 📈 46 👥 114K
    🔗 Who Loves The Sun 7️⃣.5️⃣
    🏠 2026 (The flenser)
    #️⃣ Alternativemetal Noiserock

    La formazione di Oklahoma City si consacra nel pantheon dei nuovi giganti noise rock

    a cura di Michele Corrado

    #Ondarock #MusicianSky #MusicSky #Music

    Chat Pile

  5. Songs For The Deaf

    #queensofthestoneage #songsforthedeaf #rock #stonerrock #alternativerock #heavymetal #hardrock #desertrock #alternativemetal #davegrohl #rock #rockmusic #music #musicsky #musiciansky #joshhomme QOTSA release their 3rd album on August 27, 2002 featuring a damn powerhouse lineup -- Dave Grohl on drums, front-man Josh Homme, bassist Nick Oliveri and Mark Lanegan on vocals. Both the critics and fans loved the album -- a conceptual road trip from Los…

    robinbannks.com/2026/08/27/son

  6. In This Moment Announce New Album Witch, Release Powerful New Single “Crawl”

    Grammy-nominated, multi-platinum alternative metal outfit In This Moment have announced their ninth studio album, Witch, set for release on August 28 via Better Noise Music. The album marks the band's first full-length release with the label.

    voiceofnoir.com/2026/07/20/in-

  7. Esprit D’Air – Aeons Review

    By Baguette of Bodom

    Electronic music and metal joining forces is often treated with suspicion. Not electronic in the ‘band member finds a Casio keyboard in their cellar’ sense,1 but a genuine fusion of the two with synthesizers on the forefront. Esprit D’Air is one of the more recent bands making waves with their take on this mix. A Japanese band formed in London in 2010 and spearheaded by Kai (The Sisters of Mercy—yes, that one), they’ve quickly formed their identity around a catchy blend of alternative metal, J-rock, and trance, among other stranger things. One break-up and reformation later, debut album Constellations finally appeared in 2017, followed by 2022’s Oceans and 2024’s Seasons.2 Fourth full-length Aeons is looking to delve deeper into Esprit D’Air’s niche, attempting a more varied package without any of their usual guest features help. How do they handle this melting pot of genres alone?

    Aeons is here to have fun, first and foremost. While the resurrected post-2016 incarnation of Esprit D’Air is technically a solo project—Kai being the only ‘official’ full-time member—they do function as a band in practice. Frontman Kai and partner-in-crime Takeshi Tokunaga are behind most of the album’s writing and instrumentation, with Jan-Vincent Velazco handling the drum department. It’s difficult to pin down simple comparison points to Esprit D’Air’s genre soup shenanigans, but the majority of Aeons is built around alternative metal filtered through an anthemic, rock-oriented quality, the likes of X Japan (“Like a Phoenix”). Occasionally, their sound even leans towards the AOR, power-ish metal soar of newer Battle Beast (“Shadow of Time,” “Silver Leaf”). The guitar work usually resides next to or behind the keyboards, but it does a fine job adding extra heaviness to the album, and the instrumentation in general is tight and snappy. Kai’s vocal chops also play a major role on the record, further decorating strong choruses with melodic, J-rock-inspired vocal lines (“Chronos,” “羽ばたけ”).

    Esprit D’Air has a penchant for strong hooks, especially on keyboards. Tracks like “Silver Leaf” and “Like a Phoenix” highlight the album’s greatest strengths, fusing together J-rock with extremely catchy synth patches that borrow from both techno and trance. Crucially, its multifaceted arsenal of keyboard and guitar styles makes the songs distinct from one another. Though the guitars could be more prominent, their relatively simplistic rhythmic role is complemented by powerful leads and intricate solo work when needed. The band’s attitude on instrumentation and songwriting is at times reminiscent of the way Elyose fuses early 2000s electronic and metal influences together, occasionally drifting towards their modern djentier alt-metal sound (“Chronos,” Lost Horizon”) or even the melodic downtuned attack of Periphery (“Quetzalcoatl”). Through their spectrum of styles, Aeons fulfills the band’s threat to feature more variety in a sleeker form.

    The variety of Aeons, while intriguing, is a double-edged sword. There’s a particular spot around tracks 8–10 where the album’s alternative edge morphs into an edgier, nu-informed sound, both instrumentally and vocally (“Broken Mirror,” “絶望の光”). Despite Esprit D’Air kind of pulling it off, it doesn’t fit the album’s mood, especially not with all of it centered on one region. Half-ballad “Stardust” also quiets the album’s thunder somewhat, its bright but melancholic soundscape causing Kai to overstep his optimal vocal range. Fortunately, the majority of Aeons is memorable and at times even infectious. Its brevity softens its missteps; where Oceans landed at almost an hour, Aeons does more in nearly half the amount of time. This slick 35-minute runtime means its speed bumps aren’t fatal, but the middle of the album does still sag in comparison to the powerful start and finish.

    Aeons ends up being an entertaining, tight bundle of melodic genre-defying goodness. Its catchy rock/metal attack blends together everything ’00s, and the electronic influences are particularly satisfying. The record’s inconsistency does leave something to be desired, and its sonical direction is unfocused at points, but the positives ultimately outweigh its stumbles. When I picked up the promo for Aeons, I wasn’t sure what I was getting myself into or what to expect. Now, it’s apparent Esprit D’Air have made an album that amounts to more than its components imply. I reckon their appeal can reach beyond their cited genre tags, and there’s plenty of room to further expand on their best qualities in the future.

    Rating: Good!
    DR: 5 | Format Reviewed: FLAC
    Label: Starstorm Records (self-run)
    Websites: Bandcamp | Facebook | Instagram
    Releases Worldwide: November 7th, 2025

    #2025 #30 #aeons #alternativeMetal #battleBeast #electronicMetal #electronicore #elyose #espritDair #jRock #japaneseMetal #nov25 #periphery #review #reviews #starstormRecords #theSistersOfMercy #tranceMetal #xJapan