The lead work washing over you like sea waves shining in the sun, in this surreal, dream of a track entitled “Attack of the Giant Noodle”. It’s the start of an album called “This Is Spomax”, by the instrumental group Spontaneous Maximus; a release so “post-” and experimental it makes today’s heavy music sound like an echo of a long lost civilization. These guys can be described as progressive rock\metal, but the interesting thing is they actually go far and away from modern prog formulas, describing themselves as: ”An instrumental journey through metal, jazz, flamenco, Samurai movies, video games, space, forests, tears, silence, trains, fear, anger, contention, honor, bliss, sadness, silliness, optimism, and finally landing on the sandy shores of the unknown.”
Reaching these foreign shores you reach into yourself, entering a self-observation or introspection mode in an attempt to figure out the abstract energy propelled at you and the kind of feelings it invokes. You are then..well, initially weirded out to be honest, if not inclined to alienate yourself from the sight, like diverting your gaze from the blinding sun; because the more you look, the deeper seems the depth of the colliding meanings, clashing together right in front of you. Is it to much to take?
Be ready, ’cause there’s a huge amount of reverberating, enigmatic, complex instrumentation especially on tracks like “The Golden Monocule” and “Party Chips”. Luckily, the band also takes a break from time to time, for example on the calming, sublime “Traince De Journalier”. It’s a wonderfully peaceful piece that stands on its own, conjuring the image of sitting by a campfire at night, at least ’till “This Is Spomax” kicks back into gear, entering heavier regions of music once again with riffs that resemble a storm on “San Miguel”.
While the band’s musical experimentation may sound a bit off-putting or overbearing to the listener at first, there’s a certain uniform, beautiful color to “This is Spomax” that makes its chaos make sense, so that by the end of it all you feel less disoriented, and actually fascinated. The album closes with a quiet piano outro(“Water”), accompanied by the cries of seagulls – We are again at sea, fittingly returning from which we came from..but now that we are free to leave shore, we suddenly find ourselves appreciating this place, this work of art, and feeling elated by this realization – by our discovery.