#alternativemetal — Public Fediverse posts

♬️ NU METAL VS. EMO: MY CHEMICAL ROMANCE NIGHT at DNA Lounge starting now!
https://www.dnalounge.com/calendar/2026/09-11d.html?utm_source=sp_ma
#dnalounge #numetalvsemo #numetalworld #numetal #punk #alternativemetal #metal #sanfrancisco

♬️ NU METAL VS. EMO: MY CHEMICAL ROMANCE NIGHT at DNA Lounge tonight: Fri Sep 11, 9:30pm!
https://www.dnalounge.com/calendar/2026/09-11d.html?utm_source=sp_ma
#dnalounge #numetalvsemo #numetalworld #numetal #punk #alternativemetal #metal #sanfrancisco

🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
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🎵 Faith No More - Superhero

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

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #FaithNoMore #AlternativeMetal #FunkMetal #90s

Mushroomhead. One of the most underrated metal bands, imo.

https://www.youtube.com/watch?v=H-N6BFfHsqo

#Mushroomhead #fedimetal #AlternativeMetal

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…

https://robinbannks.com/2026/08/27/songs-for-the-deaf/

Mother’s Milk

#rhcp #mothersmilk #redhotchilipeppers #80srock #rockmusic #music #musicsky #musicansky #alternativemetal #funkrock #funkmetal  #flea #JohnFrusciante #ChadSmith #AnthonyKiedis August 16, 1989 ~ The Red Hot Chili Peppers release their first album with John Frusciante and Chad Smith in the fold ... After the loss of founding member Hillel Slovak in '88 and original drummer, Jack Irons left the band, Flea and Anthony rebuilt by recruiting an 18 year-old…

https://robinbannks.com/2026/08/16/mothers-milk/

From their origins in Mexico City to the 2022 SXSW Festival in Austin, Texas, the three members of Demons My Friends have a shared journey that made their union fateful. This shared geography has played a role in their musical process, as they split recording their sophomore album, Survive/Yourself, between Mexico and Texas. Post-COVID personal struggles inform the record’s themes, with illness, job losses, and family crises cited as sources of the anxiety that fueled their songwriting. Demons My Friends don’t deliver doses of sadboi, however. What they play is a raw, rough, and gritty style of grunge. Though it flirts with mainstream acts like Alice in Chains and Soundgarden, Survive/Yourself plays its grunge outside the box. While creating music is undoubtedly a healthy outlet, the question remains as to whether it’s a good idea to get too friendly with your demons.

Demons My Friends mixes thick stoner/sludge guitar tones with catchy alternative rock hooks for a compelling sonic palette. The fuzzy guitar on opener “The Theory of Change” evokes Mastodon, while the chorus takes a page out of ’90s rock acts like Nirvana and Bush. Yet the tracks on Survive/Yourself run a bit longer than the more radio-friendly examples of grunge, allowing room for meandering and play. Often these moments serve as highlights, especially the melodic lead that pops up mid-song on “The Last Dance.” And though the sludge proves to be the dominant guitar tone, Demons My Friends also show their more sensitive side. “Kalorama,” with its catchy strummed guitar lead, borrows heavily from Pearl Jam’s soft jams. On other tunes, the guitar grows more playful, with a twangy arpeggio on “We All End Up Here” and a really cool psychedelic bit on the record’s catchiest song, “Brain Holographics.”

Survive/Yourself by Demons My Friends

Unfortunately, Demons My Friends also end up being their own worst enemy. The back half of Survive/Yourself finds a pretty successful formula with some catchy tunes that could almost pass for radio-friendly. Yet the band makes some questionable choices that hold them back. As great as “Brain Holographics” is, it stretches on for too long thanks to a lengthy instrumental detour that sees the song nearly lose its way. The fun, High on Fire-inspired stoner track, “Smile,” includes a weird bit of growling that mars a rather tight tune. Also at issue are the vocal performances. Since both Pablo Anton and Lu Salinas have vocal credits, I’m not sure who’s the culprit, but one of the two consistently sounds off-key, and his voice especially strains on higher registers (most noticeable on “Last Dance” and “Star Child”). These sound issues give a sense of raw emotion, but they also distract from the flow of the songs.

The production, with a DR score of 10, proves a boon, but some production choices prove a bane. The largest boon belongs to the guitars. The thick, fuzzy tone is so satisfying as it fires up on “The Theory of Change” and then again about two minutes into “We All End Up Here.” Similarly, Salinas’s bass benefits, contributing some funk on “Brain Holographics” and some nastiness on “Smile.” Littered throughout Survive/Yourself, however, are odd sound issues that detract from the music. The finale of “The Theory of Change” sounds like someone let their kid play with the recording equipment, as a childlike voice repeats “I” over and over. Other noise effects tricked my brain into thinking I was hearing something outside the music. Pattering raindrop drum beats on “Brain Holographics” had me looking up at the ceiling, scared to see a leak. Vocal oddities here and there, such as the strange spoken parts on “Star Child,” gave me the feeling someone had crept up behind me. Cleaning these issues up would have resulted in a much smoother album.

While they showcase some nice licks and cool ideas, Demons My Friends have some demons to exorcise from their songwriting repertoire. There are aspects of their more experimental side that work well—some exploratory instrumental passages and the varied guitar tones. Yet some of what they do just pulls listeners out of the musical experience. They have a clear knack for some great hooks—I find myself humming the chorus on “Brain Holographics” pretty frequently, for one. I look forward to hearing how they are able to evolve their blend of experimental and mainstream music on their next release.

Rating: 2.0/5.0
DR: 10 | Format Reviewed: WAV
Label: Ripple Music
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: April 17th, 2026

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

#nowplaying the new album "Futique" by the band #BiffyClyro from #Scotland

#AlternativeRock #AlternativeMetal #Rock #PopRock #AlbumsOf2025

Personal Rating: 8 / 10

Recommended Tracks: "Shot One", "Friend shipping", "It's chemical", "Hunting Season", "Goodbyes", "Two People in Love", "A Little Love", "Woe is me, Woe is you", "Dearest Amygdala"

Screw what the metalcore "purists" think. This Devil Wears Prada song is top notch amazing!

https://www.youtube.com/watch?v=wW0jj5GiZ_c

#thedevilwearsprada #tdwp #metalcore #alternativemetal #alternative #rock #music #nowplaying

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MAX CAVALERA On SEPULTURA's Chaos A.D.: "We Showed There's Another Way To Make Aggressive Music"
"A little bit slower and more groove oriented."

https://metalinjection.net/news/max-cavalera-on-sepulturas-chaos-a-d-we-showed-theres-another-way-to-make-aggressive-music

#MaxCavalera #Sepultura #ChaosAD #AggressiveMusic #AlternativeMetal #HeavyMetal #IconicRecord