#alternativemetal — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #alternativemetal, aggregated by home.social.
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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…
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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…
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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…
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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…
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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…
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🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
──────────────
🎵 Faith No More - Superhero▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE#VortexWave #FaithNoMore #AlternativeMetal #ExperimentalRock #90s
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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
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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
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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
-
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
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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
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🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
──────────────
🎵 System of A Down - Chop Suey!▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE#VortexWave #SystemOfADown #NuMetal #AlternativeMetal #2000s
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Free download codes:
CROSSRIP - Interdimension
"A collection of heavy tracks that cover a variety of styles in the metal genre."
#metal #metalcore #alternativemetal #industrialmetal #numetal #groovemetal #numetal #altmetal #numetal #music
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Free download codes:
CROSSRIP - Interdimension
"A collection of heavy tracks that cover a variety of styles in the metal genre."
#metal #metalcore #alternativemetal #industrialmetal #numetal #groovemetal #numetal #altmetal #numetal #music
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Free download codes:
CROSSRIP - Interdimension
"A collection of heavy tracks that cover a variety of styles in the metal genre."
#metal #metalcore #alternativemetal #industrialmetal #numetal #groovemetal #numetal #altmetal #numetal #music
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Free download codes:
CROSSRIP - Interdimension
"A collection of heavy tracks that cover a variety of styles in the metal genre."
#metal #metalcore #alternativemetal #industrialmetal #numetal #groovemetal #numetal #altmetal #numetal #music
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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 -
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…
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Dzisiaj #Primus! Kto z Was idzie? (Ja idę!) :)
#muzyka #koncert #warszawa #alternativemetal #funkmetal #experimentalrock #progressiverock
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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
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By Saunders
Record label dependability is a handy gauge for assessing quality in the crowded realms of the metalverse. The gauge isn’t always foolproof, but more often than not, a handful of trustier labels in the biz deliver on both quality and individuality. Pittsburgh-based record label 20 Buck Spin has championed many a fine band since its inception 20 years ago, boasting a diverse roster, currently including wide-ranging acts such as Fulci, Vastum, Slimelord, Bedsore, Tribunal, and Worm. It was a curious promotion of Texan band Bleed that piqued my interest. Even amidst the label’s solid variety and idiosyncrasies, on paper Bleed appear an unusual fit. Firstly, Bleed have no affiliation with the extreme sounds of many of their labelmates, instead leaning into a chunky and melodic alternative metal/rock sound channeling late ’90s and early ’00s vibes. Although carrying enough metallic clinks and weighty riffs, in many facets, Bleed fall into the metal adjacent category, bound to satisfy and repel this fine readership in divisive ways. With a solid 2021 EP under their belts, can Bleed add some fresh threads to an endearingly modern meets retro formula?
Nostalgia is a strong emotion in the music world, and Bleed ride those throwback feels hard across a tight and punchy collection of airy, spacey alt metal tunes. There is a deceptive versatility gushing from Bleed’s emotive songwriting. Shoegazing atmospherics, throwback nü grooves, Deftones-powered dynamics, and hints of Helmet, early Incubus, and Failure coalesce into a crunchy, riff-centric slab of moody alt metal. Bleed possess the chunky modern elements and fresh vibes to transcend mere throwback values. Furnishing fat riffs and fatter grooves with soft-loud dynamics, where dreamy, glistening melodies, subdued verses, and mellow breaks intertwine with nü flavored heavy rock and angsty alternative metal. The formula largely works to reel in the target audience, delivering a collection of compact, infectious, hooky delights.
Showing their hand from the outset, the chunky opening riffs and turntable scratching of opener “Climbing Down” deliver a retro trip. Bolstered by punchy riffs crashing over moody textures and an ethereal melodic sheen, the song plays on the band’s strengths. These recurring factors create the signature dreamy feel permeating the album, as Bleed prove talented musicians with a knack for hooky songwriting and tightly synced performances. Bleed’s formula it not overly complicated or flashy, yet they nail execution, the engaging melodies and catchy riffs creating a soothing atmosphere comfortable to get lost in. Keeping their writing on a tight leash, Bleed rigidly remain true to their formula, imbuing each song with individual character and throwing down the occasional curveball. “Shallow” dabbles in more subdued, acoustic-driven waters, featuring a chilled, almost hypnotic, psychedelic cadence, rippling with interesting melodies. The heavier vocal turns add a welcome edge to earworm nuggets on lead singles “Marathon” and “Enjoy Your Stay” (featuring Static Dress). Elsewhere, the riffs do the heavier lifting, driving the likes of “Fixate” and “Killing Time,” setting the stage for the shifting dynamics and enveloping melodies to take hold.
“Through the Cylinder” is another solid showcase of what Bleed do well, threading engaging melodies through an escalating arrangement, culminating in heavier vox and a bruising breakdown. Over the course of the album, singer/guitarist Ryan Hughes offers up deceptively earwormy, emotive vocal hooks, though his airy style may present as ‘whiny’ to some listeners, potentially being a deal breaker. The heavier backing screams and barks sporadically cutting through the mix create a pleasing counterpoint, and extra grit in the vocal department would be a welcome addition. Nevertheless, his chilled, emotive style has its charms, especially when coupled with the band’s sturdy riff foundation and floating melodic currents. Hughes and fellow guitarist Noah Boyce drive Bleed’s richly textured sound, combining subtle motifs, shoegazing vibes and cool atmospheric licks, with a memorable range of killer riffs and extra chunky grooves.
Bleed’s self-titled debut is bound to cause a buzz in the metal and rock scenes, while proving a divisive experience for many. As an impressionable youngster when the new millennium rolled around, with one foot in the extreme metal sounds and the other exploring the trends of the times, Bleed’s fresh spin on a retro sound forms a nostalgic, transportive experience with enough tricks and character to ground things in the here and now. And despite its flaws, Bleed’s endearing charms, muscular riffs, contemplative shoegazing, and subtly addictive hooks prove difficult to shake.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: 20 Buck Spin
Website: Bandcamp
Releases Worldwide: May 2nd, 2025#20BuckSpin #2025 #35 #AlternativeMetal #AlternativeRock #AmericanMetal #Bedsore #Bleed #Deftones #Fulci #Helmet #Incubus #Review #Reviews #Shoegaze #Slimelord #StaticDress #Vastum #Worm
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MELTED BODIES – The Inevitable Fork
https://eternal-terror.com/?p=65819RELEASE YEAR: 2024
BAND URL: http://www.meltedbodies.com/
Who’s to say it’s impossible to make both original and catchy heavy music these days? The Californian avantgarde experimental eclectic metal quartet Melted Bodies is proof positive that it’s possible, especially with their 2nd album (after People Watching²⁰¹⁹ EP and Enjoy Yourself²⁰²⁰ debut full length), The Inevitable […]
#alternativeMetal #AustinGriswold #avantgardeMetal #california #EclecticMetal #experimentalMetal #industrialMetal #LosAngeles #MELTEDBODIES #punk #SecretServicePublicity #selfReleased #TheUnitedStates
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#MetalInjection
The Weekly Injection: New Releases From NECROT, TÝR, CASTLE RAT & More Out Today 4/12
Plus releases from Benighted, Eidola, Heavy Temple, Northlane, and Spit On Your Grave.#WeeklyInjection #NewReleases #Necrot #Ekbom #Benighted #CastleRat #Eidola #HeavyTemple #Northlane #SpitOnYourGrave #Tyr #BattleBallads #FolkMetal #DeathMetal #ProgressiveMetal #AlternativeMetal #ProgressiveMetalCore #PostHardcore #StonerMetal #PsychedelicMetal