Monografia 👤
👤 Neptunian Maximalism 📈 22 👥 15.4K
🔗 Neptunian maximalism - rituali cosmici per una nuova era
Un'orchestra tra jazz, psichedelia e metal prova a raccontare la fine dell'umanità
a cura della Redazione
#Ondarock #MusicianSky #MusicSky #Music
Neptunian Maximalism
#neptunianmaximalism — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #neptunianmaximalism, aggregated by home.social.
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Recensioni ✍️
👤 Neptunian Maximalism 📈 24 👥 15.3K
🔗 Nāgabhūtaṃ 7️⃣
📅 7-8-2026
🏠 2026 (I, voidhanger)
#️⃣ Avantmetal Fusionmetal Progmetal
Un rituale oscuro per un serpente mostruoso
a cura di Antonio Silvestri
#Ondarock #MusicianSky #MusicSky #Music
Nāgabhūtaṃ - Album by Neptunia... -
Recensioni ✍️
👤 Neptunian Maximalism 📈 24 👥 15.3K
🔗 Nāgabhūtaṃ 7️⃣
📅 7-8-2026
🏠 (I, voidhanger)
#️⃣ Avantmetal Fusionmetal Progmetal
Un rituale oscuro per un serpente mostruoso
a cura di Antonio Silvestri
#Ondarock #MusicianSky #MusicSky #Music
Nāgabhūtaṃ - Album by Neptunia... -
Facts about the St Louis Cardinals 1900-2025 https://www.rawchili.com/mlb/500123/ #AlbertPujols #AmericanAssociation #Baseball #Cardinals #Chicago #Dodgers #FarmSystem #MattHolliday #MLB #NeptunianMaximalism #OzzieSmith #RogersHornsby #St.Louis #St.LouisCardinals #StLouis #StLouisCardinals #TheBrowns #TheCardinals #YouTubeMusic
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Heute in der Zukunft (also später 😄): #NNMM 🖤 🖤 🖤
Hab gehört, es gibt noch viele Tickets.
https://neptunianmaximalism.bandcamp.com/album/le-sacre-du-soleil-invaincu
#NeptunianMaximalism #radio27 #music #AvantGardeMetal #DroneMetal #Doom #Freejazz #concert #Berlin -
Tonite! #MAGASIN4.4 GRAND OPENING
CONCERT: #ViolentMagicOrchestra (JP) + #NeptunianMaximalism DJ: #ElzoDurt + #DrGreen + #Ennuiamor -
Abhorrent Expanse – Enter the Misanthropocene Review
How experimental is too experimental? Tha…
#NewsBeep #News #Music #1.0 #2025 #AbhorrentExpanse #AmalgamMusic #AmbientMetal #AmericanMetal #Aug25 #Bunsenburner #Celestiial #DeathMetal #DissonantDeathMetal #EntertheMisanthropocene #Entertainment #FreeJazz #Grindcore #ImperialTriumphant #JohnCage #JohnZorn #NeptunianMaximalism #noise #Obsequiae #Portal #review #Reviews #TheBlight #UK #UnitedKingdom #ZebulonPike
https://www.newsbeep.com/uk/75769/ -
Abhorrent Expanse – Enter the Misanthropocene Review
By Dear Hollow
How experimental is too experimental? That’s the question Chicago’s Abhorrent Expanse posits. It’s clear from the title: Enter the Misanthropocene enters to play jazz and fuck shit up, and “Bitches Brew” is on its final notes. When the Lord of the Promo Pit designated the quartet as “death-drone,” I was intrigued and gobbled up rights. It was clear from the jump that Abhorrent Expanse was not the death metal act with a mammoth guitar tone I had hoped, but an improvisational free jazz quartet that decides to do extreme metal sometimes, with death metal, grindcore, and, yes, drone metal making short-lived appearances. Pushing the boundary between extreme lofty experimentation and outright nonsense, Enter the Misanthropocene is a sophomore effort that will take you to an abstract and uncompromising world – or straight to the medicine cabinet for an aspirin.
Abhorrent Expanse has a solid lineup, including caliber from Zebulon Pike, Celestiial, Obsequiae, and The Blight – even if its sound feels entirely convoluted. Following the controversial debut Gateways to Resplendence, Enter the Misanthropocene is largely the same, but its scope is larger, significantly reducing its drone content in favor of jazzy noodling, grind intensity, sprawling ambiance, and deconstructed death metal jaggedness. The drone that exists within is a short-lived sprawl that pops up periodically, giving a more abstract feel than its predecessor’s “dissodeath meeting drone metal in a dark alley behind the Kmart” vibe. Forty-eight minutes of whiplash-inducing tonal and tempo shifts, off-key twanging, random stoner sprawls, and an undeserved love for improv awaits – and I need a nap.
Say it with me: improv is bad. I get the whole avant-garde approach that John Zorn would drool over, that an improvised performance is a “never see it the same way twice” kind of deal, but that doesn’t mean it’s good. As we’ve seen with typically good bands like Neptunian Maximalism or Bunsenburner, relying on group chemistry instead of thoughtful songwriting to create a singular experience hardly pans out – and Enter the Misanthropocene is no exception. Moments of avant-garde clarity in which the instruments align shine in the twitching obscure grind (title track, “Assail the Density Matrix,” “Dissonant Aggressors”), short-lived minimalist drone (“Praise for Chaos,” “Dissonant Aggressors,” “Ascension Symptom Acceleration”), haunting ritualism (“Waves of Graves”), and ambient calm (“Kairos”). Death growls are sparse. Enter the Misanthropocene is so free jazz and avant-garde it forcibly drags nonconsenting listeners into what seems like obscenely high art…
…Or incompetent musicianship. Much of Abhorrent Expanse’s sound is rooted in utter nonsense, and one that often gets played really fast. While there’s certainly artistic discomfort aplenty to be found on this record, in which I can see some merit (“Waves of Graves,” “Drenched Onyx”), these are scattered moments among what sound like the plonks and twunks of a novice fiddling with a new guitar at Guitar Center. Atonal noodling and off-beat drumming accounts for the majority of its forty-eight minute runtime, sounding entirely random. The drone-doom moments feel off-beat and misaligned (“Praise for Chaos”), some ambient moments are so subtle and minimalist that they just cover John Cage’s 4’33” for a bit before eventually becoming audible (“Nephilim Disinterred”), and by the end of the ten-minute closer “Prostrate Before Chthonic Devourment” you might feel like you’ve been through a prostrate exam.
The promotion around Abhorrent Expanse relies on similarities to dissonant acts like Portal and Imperial Triumphant – but in order to do that, they’d actually have to write some songs first. Gateways to Resplendence was challenging and avant-garde but anchored to a respectable degree; Enter the Misanthropocene is a leaf on the wind, being blown by one avant-garde gust to another with no semblance of gravity to save it. Its high-art status is a divisive issue, as the directionless noodling can be seen as either a challenging piece of art or four dudes who don’t know how to play their instruments. But isn’t that the nature of art itself? Abhorrent Expanse holds a mirror to art itself, making us question what is drivel and what is erudite – through the improvised off-key noodling of someone who has arguably never picked up a guitar before.
Rating: 1.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Amalgam Music
Websites: abhorrentexpanse.bandcamp.com
Releases Worldwide: August 15th, 2025#10 #2025 #AbhorrentExpanse #AmalgamMusic #AmbientMetal #AmericanMetal #Aug25 #Bunsenburner #Celestiial #DeathMetal #DissonantDeathMetal #EnterTheMisanthropocene #FreeJazz #Grindcore #ImperialTriumphant #JohnCage #JohnZorn #NeptunianMaximalism #Noise #Obsequiae #Portal #Review #Reviews #TheBlight #ZebulonPike
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Ja sitten se toinen tuore julkaisu, eli Neptunian Maximalismin Le Sacre Du Soleil Invaincu, prameassa kolmen lätyn laatikossa, oheispaidalla tietenkin. Aivan heittämällä upein uusi bändilöytö viimeisen viiden vuoden ajalta; tyylinä jotakin dronen, doomin, etnon ja jazzin välimaastosta, eli erikoismusalinjalla mennään vahvasti (joskin yhtyeen baritonisaksofonistin ollessa tauolla jazzin osuus on tällä julkaisulla mielestäni huomattavasti vähäisempi). Täydet suositukset.
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Endlich ins neue Album reinhören. Dieses Album-Release hat soo lange gedauert. Und die Vinyl war innerhalb weniger Minuten ausverkauft. 😰
Hab mir gerade zu einem astronomischen Preis das letzte T-Shirt gekauft, mit Geld was ich nicht habe, aber immerhin gab's das digitale Album dazu. T-Shirt + digitales Album als Package, find ich nen ziemlich guten Deal eigentlich.
https://neptunianmaximalism.bandcamp.com/album/le-sacre-du-soleil-invaincu
#radio27 #music #NeptunianMaximalism #DroneMetal #SpaceRock #Doom #FreeJazz #AvantGarde
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Je jouerai avec Neptunian Maximalism ce mercredi au Botanique #neptunianmaximalism #metal #drone #psychedelic #indian #raga #concert
https://botanique.be/fr/concert/neptunian-maximalism-2025 -
I will play at Le Botanique, Brussels, April 9, with Neptunian Maximalism. The first part of the concert will be a reunion of the original band. In the second, we’ll be playing tracks from our new album, devoted to a rendition of an Indian raga in drone metal mode.
https://botanique.be/en/concert/neptunian-maximalism-2025#neptunianmaximalism #NNMM #drone #metal #stoner #brussels #belgium #raga #improvisation #occult #psychedelic
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Five the Hierophant – Apeiron Review
By Carcharodon
I wanted to love Five the Hierophant’s last album, 2021’s Through Aureate Void. I really did. Alas, it was not to be. However, after seeing them play a great set at ArcTanGent in 2022, I revisited that record. While I stand by everything in that review, including the 2.0, which some viewed as harsh, the potential was clear and Five the Hierophant was tantalizingly close to delivering a worthy follow-up to their very good debut, Over Phlegethon. The British quartet’s brand of psychedelic, jazz-inspired, instrumental post-metal had elements of greatness marred by meandering, over-indulgent songwriting that lacked standout ideas. However, I can’t think of another 2.0 that I’ve given, where I would be as genuinely interested and optimistic as I was going into Five the Hierophant’s third album, Apeiron. Could they tighten up the formula and deliver that great record I know they have in them?
While there is no paradigm shift in Five the Hierophant’s sound on Apeiron, there is a clear expansion of vision. Building on the model of Through Aureate Void, the foundation remains one of dark, sprawling atmospheres, pregnant with ambience and pent-up threat (“Tower of Silence I”). The backbone of Five the Hierophant’s sound is built around bass, guitar, drums, and other percussion, apeing the likes of BRIQUEVILLE to create a rich, textured post-metal soundscapes (title track). However, where some bands rely on a vocalist to punctuate and enhance their compositions, Five the Hierophant have Jon’s sax. Crooning, whispering, screaming, the sax commands the sound stage (“Uroboros”), just as it is allowed to do in places on White Ward’s albums also. However, not content to rest on its laurels, the band is ever-expanding its horizons, broadening the already extensive array of tools at their disposal to now include horns, trumpets, gongs, bells, violins, skull shakers, and more.
Apeiron is a Greek word meaning that which is unlimited or infinite. What Five the Hierophant do so well is to capture that sense of both scale and organic fluidity. The overarching drone and ambient elements feel boundless and vast, amplified as they are by not only the horns and violins (“Moon over Ziggurat” and the title track), but also the liberal use of effects (end of “Tower of Silence I” and closer, “Tower of Silence II”). The sax, as well as the trumpet and other adornments, then light up the inky void, sometimes flowing like quicksilver (“Moon over Ziggurat”), sometimes more challenging, insistent, even angry (the opening title track), occasionally recalling the freeform lines of Neptunian Maximalism or an instrumental Pan.Thy.Monium. Even as we slip into looser, more chaotic soundscapes (middle portion of “Initiatory Sickness”), the whole of Apeiron retains an identity and cohesion that does great credit to Five the Hierophant.
A cursory listen to Apeiron might suggest that Five the Hierophant has delivered a freeform creation, light on tangible structures. However, while this may be true using only traditional metal as your reference point, there is a model or blueprint for the material that runs through the record. Each track opens in languid mood and, even where there are threatening or forbidding overtones, the sound is delicate, restrained slow-burn. It then gradually builds towards something more powerful and cathartic, punctuated by chaotic forays along the way. Perhaps this basic mold is responsible for the cohesive feel of Apeiron. However, it also means that, after a few listens, you start to lose the sense of indefinite exploration and feel instead like you are on a moist, well-trodden, slightly predictable path. That said, despite only being four minutes shorter than Through Aureate Void, the material on Apeiron feels significantly tighter and less meandering, with the sole (and unfortunate) exception of “Tower of Silence II.” This was, sadly, entirely the wrong five minutes with which to close the album. If only Five the Hierophant had stopped at the end of “Uroboros” (or, I suppose, swapped the two tracks), this could have been a far superior experience. As it is, Apeiron finishes on a disappointing siding, rather than a triumphant main line.
The production on Apeiron is a significant step up from previous albums. Rich and dynamic, it imbues Five the Hierophant’s sound with genuine power, while the master allows the legion of constituent elements sufficient breathing room. Indeed, it’s not just the production, but also the songwriting that represents a significant step up. Where Through Aureate Void meandered aimlessly, Apeiron feels like a journey, albeit with diversions and detours en route. If Five the Hierophant can now finetune their process to maintain the feel they’ve imbued Apeiron with, while slightly reducing the structural predictability, their next record will be truly masterful.
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Agonia Records
Websites: five-the-hierophant.bandcamp.com | facebook.com/fivethehierophant
Releases Worldwide: October 18th, 2024#2024 #30 #AgoniaRecords #Ambient #Apeiron #AvanteGarde #Briqueville #BritishMetal #DoomJazz #Drone #FiveTheHierophant #NeptunianMaximalism #Oct24 #PanThyMonium #PostMetal #Review #Reviews #WhiteWard
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Homo Sensibilis Sounds w CZLT (from ZAAAR and Neptunian Maximalism) @ Kiosk Radio 13.08.2024
https://invidious.jing.rocks/watch?v=jJK4J7z_9-s
https://youtu.be/jJK4J7z_9-s?si=oarQUdYBQIjU5k1C
#drone #india #DJ #experimental #ZAAAR #NeptuniaNMaximalisM #tootradio #pouetradio #mastoradio
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#NeptunianMaximalism - Set Chaos To The Heart Of The Moon [Full Album]
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R.A Sánchez – L’Ottava Sfera Review
By Dear Hollow
The trouble with genre-bending avant-garde artists is the line between utter brilliance and foolhardy amateurishness. Like a sleeping bear of sonic putridity, artists poke it with their toes of jazz and ambiance and drone, and it largely is a matter of time before they’re greeted with the teeth, and consequently, our ears are bathed in confusion.1 R.A Sánchez, proprietor of the ambient weirdness of Black Baptist, offers this odd concoction in solo debut L’Ottava Sfera, a title which is translated to “the eighth sphere” in Corsican. Balancing crystalline and dark ambient soundscapes, jazzy chord progressions and spurts of brass, and a drone weight, all to a pace seen in funeral doom, it takes its sweet and pitch-black time oozing into the bones with sluggish precision.
L’Ottava Sfera does well in emulating the darkness of its cover art.2 Inspired by Catholic imagery, as well as sonic inspirations of experimental jazz, funeral doom, and avant-garde composers like Krzysztof Penderecki and Iannis Xenakis, R.A Sánchez offers a pitch-black sonic exploration into formality, death, illness, and madness, on paper penned like this year’s Swami Lateplate. While albeit merely hinting at metal through expansive soundscapes infected with cancerous doom, L’Ottava Sfera feels heavier and darker than some of metal’s more vicious offerings – as dread and dying course through every fiber of this beast. Undeniably divisive and jarringly stitched together at parts, R.A Sánchez offers a pitch-black descent into meditation and madness through its weaponized gloom.
R.A Sánchez essentially takes funeral doom and drone and strips them to their bare minimum: as atmospheric and unrelenting but its teeth are notably absent, pinpointing its potentially divided reception. Punishment is not his aim, but rather evocation. L’Ottava Sfera’s tracks range therefore from ambient sprawls touched by the crooked hand of drone to dense and unforgiving weight that tugs on the throat. Designed like an unassuming crescendo, the album opens up with the simple and overlong “Nimu,” which can simply feel like a warbling improvisation on a Roland synthesizer. Maneuvering between jazzy chords with underlying pitch shifts, there is little else to be impressed with, continuing into the piano-led “Forma,” whose pastoral chords are interrupted by a staccato break: again, a rather unassuming twist on an unassuming track. However, there dwells beneath the true monster of L’Ottava Sfera at its halfway point: a growing crescendo of drone that adds depth, darkness, and weight to the jazzier proceedings. Even then, the chord progressions stand at odds in “Forma,” with a dark minor scale dominating the drone clashing against the relatively lush major proceedings of the piano.
It isn’t until the full weight of the meticulously constructed and wildly mind-warping “Qutb” that R.A Sánchez reveals his hand. Beginning with a relatively toothless doom beat alongside a synth substitute for squealing feedback, the dirge warps into deep and dark drone slogs that feel the weight of eons, while narrowly skirting the “metal” tag. Balanced with a segment of wonky jazz spasms, a revenant of Miles Davis’ Bitches Brew, the drone hits as a welcome ton of bricks that suddenly dominates the track with a tastefully religious tone that pairs neatly with the ritualistic flavor. Colossal fifteen-minute closer “Gnosi” continues this trend in the mammoth climax of L’Ottava Sfera, where drums and drone approach an uncanny valley version of brutality (recalling this year’s Rorcal) while the ritualistic and shamanistic drone-inflected jazz drags listeners kicking and screaming into the darkness, recalling Neptunian Maximalism or Zaäar. A true test of patience, interlude “Sovranu” is a sprawling ambient track that slowly and methodically swells from near silence to suffocating density throughout its fourteen-minute ethereal march – although a masterclass in ambient dynamics.
R.A Sánchez toes the line between coyly amateurish and meticulously cunning across the album-long dynamic of L’Ottava Sfera, ultimately landing on a sound best described as soul-crushing – even if it takes a while to get there. The pitch-black tones that embody the destination “Gnosi” showcase the intention and care all along: an ultimate emptiness that scratches under the skin with a duality of both religious and primal weight. The road is bumpy and forlorn and your patience will be tested across its forty-four-minute runtime of divisive genres, but fans of jazz, drone, and dark ambient will find their journey well rewarded.
Rating: 3.0/5.0
DR: N/A | Format Reviewed: STREAM
Label: Lost Tribe Sound
Websites: blackbaptist.bandcamp.com
Releases Worldwide: December 1st, 2023#2023 #30 #AmericanMetal #AtmosphericDoom #BlackBaptist #DarkAmbient #DarkJazz #Dec23 #Drone #FuneralDoomMetal #Jazz #LOttavaSfera #MilesDavis #Neoclassical #NeptunianMaximalism #NonMetal #RASánchez #Review #Reviews #Rorcal #SwamiLateplate #Zaäar
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#Upcoming Pyrocene is the new collaborative album from #AntonPonomarev (#POMassacre) and #GuillaumeCazalet (#NeptunianMaximalism). A dynamic, heavy offering, Pyrocene is the perfect compliment to either of these artists' main projects. Available via #Utech, October 6th. https://utechrecords.bandcamp.com/album/pyrocene