#Alternative

Re:O – Reverie

Some music outlets release full-length albums, while others are bound to share singles, which is perfectly fine if those tracks are catchy, memorable, and engaging. If you compare those two formats, you can notice that it’s far more difficult to release standalone singles than albums, mainly because there is no room for mistakes. The separate track acts as a showcase where each element needs to shine in order for a song to stand out, while in the case of full-length albums, you can always add those filler numbers to fill the gaps in between. With the tenth single recently released via all streaming platforms, Re:O proves that you do not need to have a comprehensive collection of songs stacked together to demonstrate your tremendous songwriting, composing, arranging, and producing abilities. Quite the contrary, you just need a track like “Reverie,” a perfect showcase where fascinating skills, talent, creativity, experience, and knowledge collide harmoniously. What makes this composition so catchy, memorable, and irresistible is that collision between several different yet complementary subgenres of rock and metal music. Re:O merges together only the finest properties of melodic metal, alternative rock, synth rock, and hard rock, crafting a soundscape that leaves you speechless even after the song comes to an end. But as usual, many other factors also play a significant role in this sonic equation, making it a perfect melodic metal composition worth spinning over and over again.

Photo courtesy of the band.

On their tenth standalone single, Re:O play with tension and release, that push and pull technique where you stumble upon calm, soothing, relaxing, ethereal, otherworldly soundscapes, and then, all of a sudden, you’ve been transported directly into a completely different universe with the appearance of heavy, powerful, aggressive instrumentations. Still, even during those heavier moments, you’ll notice a layer of melody and harmony floating above. During those segments, Re:O demonstrates impressive songwriting and composing abilities, as “Reverie” arrives with a perfect structure, decorated with all those cleverly constructed segments, brilliant ideas, and outstanding orchestrations. Of course, the first thing you’ll notice when you press play is how Rio Suyama’s magnificent voice shines in the limelight. She skillfully elevates every sonic and rhythmic maneuver, commanding attention and guiding listeners through every section of the song by flawlessly balancing low, mid, and high notes. Besides decorating and emphasizing all those segments and orchestrations, she contributes more than necessary emotional depth and complexity to an already intricate song structure. In the meantime, the collision between lush synths and heavy guitars shapes a perfect backdrop for all the vocals to shine upon. On one side, you’ll hear how all those clean, jangly, ethereal, luxuriant synth leads, themes, melodies, and pads bring the otherworldly vibes, while the generously distorted, aggressive, heavy guitar riffs resonate on the other side. You’ll also notice the subtle addition of a chorus effect on guitars, spicing up all those riffs without removing that heaviness from them. Everything is so carefully, thoughtfully, flawlessly assembled that you’ll get the feel as if you stepped into a completely different dimension.

You’ll also notice how the bass guitar is perfectly blended with the electric guitar during those heavy moments and is more audible during calmer segments. Those equally impressive low-ends lurk beneath synths and guitars, offering more than necessary heaviness, clarity, and depth while simultaneously serving as a binding element that connects the mentioned instrumentations and rhythmic patterns. This particular instrument brings all the warmth, depth, density, groove, and detail without overwhelming other instruments. Of course, this composition wouldn’t sound complete without an exceptional drumming performance. You’ll hear how all those wisely assembled, flawlessly performed, well-accentuated beats, breaks, fills, and other percussive acrobatics emphasize each theme, melody, harmony, and bassline with precision and finesse. Every kick of the snare, hit of the bass drum, accentuation of the hi-hat, and splash of the cymbal plays a significant role in bringing more dynamics, power, and groove to this impressive track. With their tenth standalone single, Re:O not only showcase their tremendous songwriting and composing abilities but also demonstrate how brilliant ideas and impressive musicianship can bring even more innovation into melodic metal and rock music. They prove that these particular genres, when done right, can still sound fresh, unique, and exciting, like they were the first time you’ve heard them on the radio. “Reverie” is not only one of the finest tracks you’ll hear this year, but a rock-solid proof that Re:O are torchbearers of the modern melodic rock sound. You should immediately place this masterpiece on your music radar.

https://youtu.be/I3Zf02NiwKg?si=0aEkRMeHPrKJMoXQ

https://open.spotify.com/track/7L1X4VJb7qJuNPWxbToP7G?si=56c1ddd69795459a

#ALTERNATIVE #melodicMetal #MELODICROCK #METAL #MUSIC #REO #REVIEWS #ROCK

Re:O - ReverieRe:O
2026-02-04
Jo Passed @ Lucky Bar, Victoria BC. #indie #alternative #yyjmusic #yyjevents #yyj #victoriabc
2026-02-03

Blvck Hippie / Sunday Cruise / Dingus / Yolk

Sugar Maple, Friday, May 8 at 07:00 PM CDT

X-RAY ARCADE PRESENTS
LIVE MUSIC / ALL AGES
6PM DOORS / 7PM MUSIC
$15 CASH DAY OF

BLVCK HIPPIE
Blvck Hippie makes VHS-inspired music for anyone who’s ever felt like an outsider. By melding an emo sensibility with an indie rock aesthetic Blvck Hippie creates tunes for getting unstuck, existing weirdly, and finding togetherness. Raw vocals pair with sticky guitar riffs to create the Sad Boy Indie Rock songs of your dreams. With their firmly DIY attitude, refusal to accept the status quo, and knack for pushing musical boundaries, Blvck Hippie has turned being an outsider into their superpower.

SUNDAY CRUISE
Chicago Alternative/Indie Rock

DINGUS
Indie Rock from Kenosha, WI

YOLK
Alt Rock from Madison, WI

mkeshows.com/event/blvck-hippi

Blvck Hippie / Sunday Cruise / Dingus / Yolk
Collective Truthcollective_truth
2026-02-03

=

GoatCounter is an open source web analytics platform available as a (free) hosted service or self-hosted app alternative to Google Analytics or .

List =
directory.trade-free.org/goods

2026-02-03

Funny, Kurt Cobain played a HUGE influence on my musical tastes cause he liked a lot of really cool indie, punk, and metal shit and I listened to most records he talks about in his Journals, but as time goes on I literally never go out of my way to listen to Nirvana and don't really enjoy their music as much as teenage Ben did (I won't like turn it off when it comes on the radio tho). Nothing against them though, I just generally don't listen to any grunge outside of Mudhoney

#alternative

GetMusic - Free Bandcamp CodesGetMusic
2026-02-03

Free download codes:

som som - Reveries

"bedroom breakbeats for daydreaming"

getmusic.fm/l/9pp875

GetMusic - Free Bandcamp CodesGetMusic
2026-02-03

Free download codes:

Joel Robson - Breadcrumbs

"Harmonious, poetic, psychedelic folk-rock 'in the best traditions of some of the more esoteric folk musicians from the 60s and 70s'"

getmusic.fm/l/xJ8TKz

narF 😵✌️narF@mstdn.ca
2026-02-03

J'ai des ebooks dans mes fichiers sur Nextcloud. Je cherche une app Android pour les lire.

Je trouve rien qui me satisfait! C'est super frustrant!

Au minimum, j'aimerais que ça conserve la page où je suis rendu, idéalement synchronisé entre mes appareils.

J'aimerais bien aussi que mes annotations (surligner, commenter) soient synchronisées aussi entre mes appareils en utilisant mon Nextcloud.

Est-ce si compliqué??

#ebook #Android #alternative #Nextcloud #calibre

“Don’t Say Please: The Oral History Of Die Kreuzen” by Sahan Jayasuriya (Feral House)

Let’s be honest, if you grew up in the eighties or nineties worshiping at the altar of the independent underground, the name Die Kreuzen carries a weight that most hall of fame acts couldn’t dream of. They were the ultimate musician’s band, a group of four guys from Milwaukee who didn’t just participate in the American hardcore scene, but they essentially broke its spine and rebuilt it into something unrecognizable. For years, their story was scattered across old zines, liner notes, and the hazy memories of people who were lucky enough to be in the front row at the Starship, but with Don’t Say Please: The Oral History of die Kreuzen, Sahan Jayasuriya has finally given this band the definitive, brick-heavy monument they deserve. It’s a long-overdue archaeological dig into the Rust Belt shadows where the future of alternative music was actually forged. To understand why this book is so important, you have to understand the sheer anomaly of Die Kreuzen. Emerging from an industrial Milwaukee that felt light-years away from the hype of the coasts, Dan Kubinski, Keith Brammer, Brian Egeness, and Erik Tunison formed a unit that was almost terrifyingly proficient. Jayasuriya, a veteran Milwaukee music scribe who clearly has the DNA of the city’s scene under his fingernails, approaches the subject with the perfect balance of a fan’s obsession and a journalist’s precision. He spent a decade on this thing, and it’s vividly hearable on every page. The story drops you right into the disaffection of the Midwest, where the wreckage of punk was being fused with a strange, metallic haste and the kind of atmospheric dread you’d usually find on so many underground records.

The beauty of the oral history format, when done correctly as it is here, lies in its lack of a filter. Jayasuriya lets the band members speak for themselves, and the chemistry and occasional friction are more than notable. You get the sense that Die Kreuzen didn’t really care about being punk in the stylistic sense. They were punk in the philosophical sense, meaning they were completely bored by rules. The book tracks their evolution from the self-titled LP, which remains one of the fastest, most precise documents of hardcore ever pressed to wax, through the psychedelic, dark-pop explorations of October File and Century Days. It’s a fascinating look at a band that refused to stand still, even when standing still might have actually made them some money. When you’re reading reflections from the likes of Steve Albini, Thurston Moore, and Butch Vig, you realize that Die Kreuzen wasn’t just a blip on the radar, but the radar itself. These are the architects of the nineties alternative boom, admitting that they were taking notes while watching Die Kreuzen play to thirty people in a basement. Hearing Neko Case or Lou Barlow talk about the band’s tremendous impact adds another layer that you don’t usually get in rock docs. It’s one thing for a fan to say a band is great and another thing entirely for the producers of Nevermind and the leaders of Sonic Youth to explain how this specific Milwaukee band changed the way they thought about melody and aggression.

Jayasuriya’s writing, or rather, his curation, captures the relentless grind of the 1980s touring circuit. There’s a certain nerve to the stories of traveling in cramped vans, playing for gas money, and dealing with audiences that didn’t always know what to make of Brian Egeness’s increasingly complex guitar work or Dan Kubinski’s otherworldly vocals. The book doesn’t shy away from the reality that the band called it quits just as the mainstream was finally beginning to catch up to the alternative sound they helped invent. There’s a bittersweet quality to the final chapters, a sense of what if, but it’s tempered by the band’s total lack of regret for their uncompromising stance. They did exactly what they wanted, and they did it better than almost anyone else. Visually, the book is a feast. For the true fans, the inclusion of rare photos, flyers, and lost ephemera acts as a visual timeline of a scene that was often too fast and too loud to be properly documented. You can see the transition in their eyes and their gear, moving from the raw energy of the early eighties into the more sophisticated, brooding presence they occupied by the turn of the decade. Jayasuriya has scoured the archives with a level of dedication that borders on the religious, unearthing photos that feel like they should have been on the walls of a museum long ago.

What I appreciate most about Jayasuriya’s approach is that he doesn’t treat Die Kreuzen as a museum piece. He treats them as a living influence. He understands that their sound, that jagged, beautiful, heavy, and melodic mess, is still echoing in the music of today. Whether it’s in the DNA of modern post-hardcore or the way heavy bands now feel comfortable embracing noise-pop, the fingerprints of Die Kreuzen are everywhere. Don’t Say Please is the definitive map to finding those prints. It’s a semi-casual yet deeply knowledgeable examination of a brutal and visionary career. If you’re a Die Kreuzen fan, you probably already have ordered this one. If you’re a student of underground history, you need it to understand how the dots connect. Sahan Jayasuriya wrote a love letter to the idea that being unclassifiable is the highest compliment a musician can receive. Die Kreuzen never asked for permission to change the world, and they certainly didn’t say please. This book is the loud, proud, and perfectly executed proof of their genius.

#ALTERNATIVE #DIEKREUZEN #FERALHOUSE #GRUNGE #HARDCOREPUNK #MUSIC #REVIEWS

"Don’t Say Please: The Oral History Of Die Kreuzen" by Sahan Jayasuriya - Feral House

Client Info

Server: https://mastodon.social
Version: 2025.07
Repository: https://github.com/cyevgeniy/lmst