There’s no point in you asking me what genre Neptunian Maximalism is, because my response would just be interpreted as some smart-assed, intentionally unhelpful word vomit of random and unrelated genres of music.
Okay, fuck it, if you insist – drone, free jazz, world music, noise, folk, experimental orchestra…
You’ll note something absent from that list that you likely expected given I’m posting about the band – metal. The thing is, for all it’s eluding of the heavy metal label, Neptunian Maximalism are bizarrely heavy.
There are no distorted, down-tuned guitars or blast beats on display here – instead be prepared for a relentless brass section, chaotic rhythms, and a cornucopia of worldly instrumentation weaving in and out of the composition.
Last year, Neptunian Maximalism released their debut full length, Éons, and it is not an easy thing to recommend. Not because it’s not worthy of recommendation – it absolutely is, and here we are – but because it’s expansive chaos and barrage of musical concepts make for a near-impenetrable listening experience.
This is not for everyone, and it never tries to be. You would rarely recommend someone music that is ‘outside their wheelhouse’, and Neptunian Maximalism is outside everyone’s wheelhouse. But, if you are willing to take this ride, Éons, is such a bizarrely enjoyable experience.
I’ve not spent as much time as I normally would on describing the actual music. This is because there’s just no point. Neptunian Maximalism has to be experienced to even begin to be understood.
But it should be experienced.
Because it’s something truly remarkable.