#neptunianmaximalism — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #neptunianmaximalism, aggregated by home.social.
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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 -
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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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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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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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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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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#LeSacreDuSoleilInvaincu
#IVoidhangerRecords 2025Gracias a las fantásticas novedades de #Bandcamp, me encuentro con el genial #nuevodisco de queridos y viejos amigos
https://neptunianmaximalism.bandcamp.com/album/le-sacre-du-soleil-invaincu
#música #metal #blackmetal #avantgarde #vanguardia #músicaclásicaIndia #stoner #doom #dronemetal #freejazz #Bruselas #Bélgica
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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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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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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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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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#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
