#djent — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #djent, aggregated by home.social.
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Free download codes:
SourceCodeX - FRACTURED PRISM ~ THE ALBUM
"Djent and Prog metal with a new twist!"
#progressivemetal #djent #artificialintelligence #jazzmetal #music
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The Multiverse Concept – Chasing Echoes
#Metal #ambientmetal #djent #groovemetal #metalcore #postrock #Pune
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://themultiverseconcept.bandcamp.com/album/chasing-echoes -
The Multiverse Concept – Defying Inertia
#Metal #ambientmetal #djent #groovemetal #metalcore #postrock #Pune
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://themultiverseconcept.bandcamp.com/album/defying-inertia -
My biggest fall from grace, from a metal promise to a fart in the wind: Toothgrinder
Schizophrenic Jubilee is relentless, a knuckle punch on the face with aftershocks.
https://album.link/i/1660596207
Then, they toned it down in Nocturnal Masquerade and went generic after that. Dissolved at 2020.
#Music #MusicBands #Bands #Metal #MetalProg #Djent #ProgMetal
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Free download codes:
syn.terra - Mellow Evil
"Instrumental piano-driven progressive swamp metal."
#electronic #rock #industrial #metal #piano #horns #djent #music
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Lost in Kyiv – We’re All Going to Be Fine Review By Creeping IvyEarlier in June, a post-rock album delightfully surprised this middle-aged metalhead. I tend to approach post-anything with caution these days, but And the Dead Tree Gives No Shelter from Sweden’s Oh Hiroshima proved a cohesive, moving experience under scrutiny. Hence, I figured I’d try my luck with another post-rock album on the same label from a band named after a beleaguered city it doesn’t call home. Thus, I approach We’re All Going to Be Fine—on Pelagic Records—by Lost in Kyiv1—from Paris—with cautious enthusiasm. Unlike their labelmates, Lost in Kyiv specialize in a (mostly) instrumental version of post-rock, occasionally adding voices that narrate, soliloquize, live inside sound clips, and even sing. Hopefully, losing myself in this Parisian quartet’s fifth album won’t have me uttering wistful interjections.
Post-rock remains an apt descriptor for Lost in Kyiv, but the band shares heritage with its heavier cousin. As with any (mostly) instrumental post-rockers influenced by Mogwai, electronics play a crucial role in crafting a cinematic experience. On We’re All Going to Be Fine, synths supply melodic hooks (“Burst,” “Euphoria”), set pulsating tones (“Eclipse”), and create mid-song drama (“Mantra”). But when the baritone guitars of Dimitri Denat and Maxime Ingrand lock into a heavy groove with bassist Jean-Christophe Condette and drummer Jérémie Legrand,2 a band like Russian Circles comes to mind. Animals as Leaders also prowl (if they were less technical), on account of Denat and Ingrand’s djent-adjacent tones and playing. For much of its 41-minute runtime, We’re All Going to Be Fine reads like a post-metal album, and a particularly lush, well-produced one at that. While the heavy riffs do lean towards the generic, I can’t deny that they frequently slap.
As a (mostly) instrumental album, We’re All Going to Be Fine mostly slips due to its ‘non-instrumental’ feature: vocals.3 One recurring way Lost in Kyiv adds voices is by threading narrations/soliloquies throughout Fine. Sometimes, these voiceovers work; “Enlightened” segues into the propulsive groove of “Burst” by echoing its title, setting up the song’s rumination on ‘masks’ as a metaphor for social alienation/performativity. But other times, the voiceovers are frustratingly inaudible (“Mantra”), or awkwardly akin to guided meditations (“Euphoria”). As for singing, it makes one and only one appearance. “Becoming” is a perfectly lovely song, powered by the gorgeous melodies and harmonies of Rebecca Need-Menear, but its verse-chorus traditionalism strays far from home on this otherwise impressionistic album. Vocals seem central to the themes Lost in Kyiv claim to explore on We’re All Going to Be Fine: ‘the tension between hope and inner collapse,’ how ‘modern life can disconnect us from ourselves and each other,’ ‘the fragility of mental health and the human psyche.’ As a lecture by Carl Jung closes out the album (“Liminality”), however, I’m left feeling that Fine becomes less coherent when reading its voices closely.
Fortunately, these vocals don’t prohibitively hamper the overall experience. Whether listened to passively or semi-actively, We’re All Going to Be Fine (mostly) progresses as a seamless display of haunting beauty. The first half plays more like post-metal, containing the heaviest riffing on offer. “Eclipse” is a highlight, setting a somber mood that’s popped by an infectious single-string figure and a robust brass section: trumpet, trombone, tuba. From here, Fine mixes things up, exploring multi-layered electronica (“Euphoria”) and hammer-on heroism with d-beat sprinklings (“Liminality”). “Becoming” is always the curveball. Again, it’s not a bad song by any means, but it’s unclear why Lost in Kyiv dropped one singular radio-rock song in the middle of the album. It doesn’t feel like the work of a different band per se, but it definitely feels like a work on a different kind of album.
Oh, Lost in Kyiv, how I wanted to rate your fifth outing just a bit higher. We’re All Going to Be Fine allures with its cinematic soundscapes and hits with its bouncy riffs. Alas, your vocals of various sorts make me think I’m missing the point towards which you drive. But when I play down the voices, letting its luxuriousness wash over me, Fine becomes more than fine—it becomes a (mostly) absorbing arrangement of metallic post-rock.
Rating: 3.0/5.0
#2026 #30 #AnimalsAsLeaders #Djent #FrenchMetal #InstrumentalMetal #Jun26 #LostInKyiv #Mogwai #PelagicRecords #PostRock #PostMetal #Review #Reviews #RussianCircles #WeReAllGoingToBeFine
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Pelagic Records
Websites: Facebook | Instagram
Releases Worldwide: June 19th, 2026 -
Free download codes:
SourceCodeX - Enochian Echoes of Enlightenment
"Djent intensity and unique lyrics holds the interest of the listener and brings strange mystery out of the music . . ."
#progressivemetal #djent #artificialintelligence #jazzmetal #music
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Eutanor – Automatocrat Review By Thus Spoke
In a time where one side-eyes many an image or video online for fear of its having been created with generative AI, it’s bemusing when an artist actively markets themselves as robotic. Calling themselves a “real-fiction metal band,” centering the project on the transmissions of powerful, hyper-intelligent cyborgs, and initially appearing to have zero discoverable human presence on the internet, Polish act Eutanor might have gone a little too far with the gimmick. They are, as it turns out, so extremely far underground that neither Metal Archives, nor Bandcamp, nor any streaming service will offer you their music.1 It was only once I started pasting Google-translated Polish into my search engine that I happened upon reviews and YouTube playlists of the band’s debut, Assembling Tomorrow. The mechanical concept explicitly informs the music’s sound—a self-described “funeral djent”—that every source emphasized being difficult to absorb. But is there more man or machine in Automatocrat?
Sources were not wrong: Automatocrat is no easy listening. Even the track titles are hard to process, being an ordinal series of numbers in rough magnitude of 1.7-1.85Bn. If funeral djent is intended to invoke a blend of syncopated, drop-tuned chugs and erratic rhythms with low, slow riffs and a morose vibe, then it’s somewhat apt since the prevailing pace is slow even as the structures are fickle. But Eutanor take cues from a spectrum of subgenres besides, leaning heavily at uneven intervals towards black metal (“1804068394”), sludge (“1731543705”), stoner (“1771078223”), electronica, brutal death, and grind (“1800748752”)2. Whilst the rhythms and guitar patterns fluctuate a little in turn, the vocals sit almost entirely in some liminal space between what would be appropriate for any of these styles: a gravelly, drawn-out kind of rasp. Really, the main thing Automatocrat shares with the funereal is reverb, and with djent an experimental approach to groove. “Experimental” is probably the best descriptor for the music in general, but while innovation and complexity can make for fantastic metal, in Eutanor’s case, “experimental” is a euphemism.3
Automatocrat is mechanical only in its obstinacy in sounding as bad as possible. Well, that and the computer-generated female voice that appears at some point on every song to read out the number that names it.4 The latter would be funny if the surrounding music weren’t steadily sapping your will to live through a combination of muddled movements, messy execution, and migraine-inducing mixing. At its least offensive, the music could be considered monotonous, with flattened tremolo picking (“1804068394”), trudging doom-death (“1731543705”) or stoner-coded (“1771078223”) riffs accompanied by a basic beat. Even here, you can’t escape from the vocals, croaking—and sometimes, horrifyingly shout-speaking (“1731543705,” “1804068394”)—that scrape the insides of your skull like a rusty spoon. The reverb, which spares no expense in muddying the vocals, guitars, and cymbals alike, mocks you (“1735064161,” “1771078223”, “1804068394”). When you think it can’t get worse, Eutanor put down their metronome for a token exploration so uncoordinated and lacking in imagination it would be generous to call it a jam. Random snippets of electronica are chucked about for all of a second (“1735064161,” “1800748752”), drums have intermittent fits of failed syncopation (“1713721976,” “1804068394”), and guitar lines materialise disconnectedly only to be choked by their mediocre riff peers and endless resonance (“1731543705,” “1771078223”), or simply feint away from development (“1846444894”).
But the hardest thing to digest about Automatocrat may not be its confusing nature or meaningless attempts at experimentation, but how awful it sounds in general. The production is so bad it actually made me angry, because it suggests that Eutanor simply didn’t put much effort in. Just like the lifeless chaos that defines the music’s composition, the relentless forward crush of everything—except of course, the parts that might actually be interesting—and the fuzzy muck smothering the rise of layered guitars while sharpening vocals beyond potency implies a lack of care. There are some good ideas—a cool riff here (“1731543705”), a piece of rhythmic weirdness that works there (“1800748752”)—but they need to be properly audible, and given the room and the treatment to shine. Yes, Eutanor are small and probably low-budget, but this album sounds worse than low-fi and only compounds the structural and aesthetic problems with the music itself.
After my time with Automatocrat, I still can’t decipher the artistic intent behind it, let alone the person or persons responsible. Too boring to earn the label of “avant-garde,” too ugly and messy to be enjoyable, and too bad to feel like a sincere statement, I struggle to see an audience who would appreciate it. The lack of personality and imagination in Euatnor’s grating pretences to music is fitting for inhuman machinery, but its sloppiness feels all too human.
Rating: Unlistenable
#05 #2026 #Automatocrat #DeathMetal #Djent #DoomMetal #Eutanor #ExperimentalMetal #FuneralDoom #Jun26 #PolishMetal #Review #Reviews #StonerMetal
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Bandcamp | Official
Releases Worldwide: June 5th, 2026 -
Allt – Ataraxia [24-bit HD audio]
#Djent #HumanitysLastBreath #Metal #Metalcore #SilentPlanet #djent #monuments #postmetalcore #progressivemetal #progressivemetalcore #tesseract #vildhjarta #Karlskoga
CC BY-SA (#CreativeCommons Attribution Share Alike) #ccmusic
https://allt.bandcamp.com/album/ataraxia-24-bit-hd-audio -
This isn't my normal thing but I saw someone here gushing about this album so I thought I'd give it a whirl. It's matching my mood this morning, kinda like emo metal (with proggy/djenty bits).
TesseracT - Altered State (2013)
https://centurymedia.bandcamp.com/album/altered-state-deluxe-edition
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Sorry for the facebook link, but there's this one person band that's putting out sick #djent (and for free!)
Don't worry it's not gen AI music, it's just their name lol
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Periphery – A Pale White Dot Review By Samguineous Maximus
Over a decade removed from the djent boom of the early 2010s, stylistic flagbearers Periphery have settled into a comfortable routine, periodically regrouping from side projects and business ventures to release a new record every few years. Cracks in that formula began to show on 2023’s Periphery V: Djent Is Not a Genre, where the compositions started to feel both formulaic and scattershot. Their new release, A Pale White Dot, is their first non-numbered album since the two-part Juggernaut (2015). It seems intended as a departure from their established release pattern and a chance to reconnect with a more instinctive, creatively driven approach written from a “top-down” perspective shaped by themes of isolation and loneliness. Periphery remains one of my favorite bands (even if I find myself stuffed into the occasional AMG locker for this opinion), and I’m always excited by the prospect of their technically minded, melodic, and smartly written take on progressive metalcore. By centering this record around a more focused concept and shedding some of the expectations attached to their numbered releases, can this league of extraordinary “djentlemen” deliver another satisfying dose of syncopated brilliance?
As Juggernaut did for Periphery I and II, A Pale White Dot streamlines the maximalist hyper-technicality of Periphery III–V in service of its concept, even if that comes at the expense of what once made the band so compelling. Periphery helped define the 2010s metalcore formula of “djent riff + soaring clean chorus + breakdown,” a blueprint that would eventually shape modern heavyweights like Sleep Token and Spiritbox. Their music could pivot seamlessly between dizzying guitar acrobatics and polished melodic hooks without sacrificing momentum, turning even the most familiar structures into sprawling narrative journeys. A Pale White Dot is the first record where this strength fades into the background, with a diminished presence of the “pure-riffery” and progressive elements the band is known for. With a few exceptions (the psychotic opening riff of “Malevolent” or the bombastic bridge of “Everyone Dies Alone”), a set of shorter songs is largely held together by straightforward chugs and massive vocal-forward choruses. Periphery still sounds like themselves, but the overall shape of these songs is far closer to run-of-the-mill “Octanecore” than ever before. For the first time in their career, it feels like Periphery is merely iterating on popular sounds, rather than pushing them forward.
I’d describe the songcraft on A Pale White Dot as frustratingly competent. Periphery clearly knows what they’re doing every step of the way, and the band still finds ways to inject personality and variety into familiar formulas, even as their material sounds increasingly more generic. As always, the musicianship is absurdly sharp across the board, and once you acclimate to his squeaky pop cleans, vocalist Spencer Sotelo proves to be an essential ingredient in this polyrhythmic pie. His delivery feels more powerful than ever, shifting effortlessly between varied harsh vocals and emphatic arena-ready hooks. “Mr. God” and “Subhuman” land as earth-shaking djentcore bruisers, but beyond this, each track demonstrates a surprising diversity of moods. Subdued, vocal-driven tracks erupt into blackened tremolo passages (“Obsession”) or ludicrous mid-song breakdowns (“Carry On”), while songs like “Talk” and “Heaven on High” recapture the band’s classic sense of breakneck momentum, swerving between entertaining djent, crushing breakdowns, and massive refrains. Despite these turns, the whole package feels decidedly safe. The different song sections arrive with predictable timing, and certain chorus chord progressions/melodies begin to feel so familiar that some climactic moments lose their impact, especially when a weaker hook like “Unlocking” fails to justify the buildup.
Whereas my favorite moments on past Periphery records tend to come from huge, cathartic climaxes, some of the strongest passages on A Pale White Dot instead lean into understated nuance. “Blackwall” follows in the footsteps of “Silhouette” from Periphery V as a synth-pop-leaning earworm, but its most compelling moment is an expansive IDM-influenced middle section where synth washes and digital percussion fully take over. The titular closing track is another quiet highlight, built around a delicate acoustic guitar melody wrapped in subtle electronic atmosphere. There are other standout sections, like the wisteria-tinged progression of “Neon Valley’s” chorus or the emotional guitar solo of “Everyone Dies Alone.” These highs serve as memorable moments that anchor repeat listens, even if no single track quite reaches the heights of the band’s very best work.
A Pale White Dot is an album that’s easy to admire on a craftsmanship level, but hard for me to connect with. Periphery remain highly accomplished musicians and effective songwriters. As a fan of their style, there are still plenty of moments and tracks to enjoy throughout. At the same time, this record marks a noticeable streamlining of their sound, trading much of their trademark progressiveness and technical intricacy for more straightforward material that sits closer to contemporary metalcore than much of their earlier work. It’s far from bad, but I’d be hard-pressed to pick it over any other Periphery album.
Rating: 2.5/5.0
#25 #2026 #3DotRecordings #APaleWhiteDot #AmericanMetal #Djent #May26 #Metalcore #Periphery #ProgressiveMetal #ProgressiveMetalcore #Review #Reviews #SleepToken #Spiritbox
DR: N/A | Format Reviewed: Stream to end all streams
Label: 3Dot Recordings
Websites: periphery.net | facebook.com/PeripheryBand
Releases Worldwide: May 15th, 2026 -
Free download codes:
SourceCodeX - FRACTURED PRISM ~ THE ALBUM
"Djent and Prog metal with a new twist!"
#progressivemetal #djent #artificialintelligence #jazzmetal #music
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Free download codes:
syn.terra - Mellow Evil
"Instrumental piano-driven progressive swamp metal."
#electronic #rock #industrial #metal #piano #horns #djent #music
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Down a djent rabbit hole today after @m1rk0 recommended MetaVoid to me.
That took me to the thall tag on Bandcamp and I followed that to False God, a one-person project from Ukraine. Some of it sounds a bit technical-for-its-own-sake, but I enjoyed it overall.
Apart from the link to djent, I had no idea what thall was in the vast metal sub-genre galaxy. I know a little bit more now, but I need to do more work before the exam.
False God - Contact (2023)
https://falsegod.bandcamp.com/album/contact -
https://youtu.be/e0E5kGyoRI0?si=OkG5O57gEp181jof
La meva #CançóDelDia per al dijous 26 de març és aquesta dels #Currents #Newton #Metalcore #Djent ❤️🔥!
