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There are 6 new reviews by : PTR / remote induction.com; Chris Z./ remote induction.com; Anton / nezzwerk.com; Arne Thau / Black-Magazin; Richard Stevenson / Spectrum-Magazine; Anton/Nezzwerk.

Review on Inade' live act in London by Richard Leviathan

V.I.T.R.I.O.L. 7inch (John C. Smith)

V.I.T.R.I.O.L. 7inch (Sigill Magazine)

V.I.T.R.I.O.L. 7inch (JUDAS KISS Magazine)

V.I.T.R.I.O.L. 7inch (MN-magazine)


"SEVEN" e-zine has several INADE reviews:




Some old reviews

"Masters Of The Unknown, The Sonically Obscure:"

BURNING FLESH CD (PTR / remote induction.com)

Burning Flesh represents a re-release of earlier Inade material. Mainly the Burning Flesh cassette from 1993, which makes up the first 8 tracks. The remainder is made up by Genius Loci Pt I-IV and the Book Ov Shadowz compilation track Tat Twam Asi. Making 13 tracks, coming to 72 minutes of music in a nice digi pack sleeve. From the first ones we build to the chiming of Overture Bells. Murky dark morning, with windy motions carrying spectral voices and the great ringing bells. Creating a sparse smoothing mood. Warmer tones are emitted by the drones of Shattered Bones. High sighs with pulses flexing in and out. A fluid swirling mixes with a solid motion, combining with the growth of the initial components. The growth of Shattered Bones moves through spaces - at times in flux and others opening chasms. The conclusion of Shattered Bones mellowing in a soothing slide into The Coming Of The Black Legions. Into which an echoing beat is added, followed by many smaller sounds. Like tramping feet of the approaching legions, the thumping keeping their tie and leading their dull roar. Past the arrival of the Black Legions we find the Final Prayer. A droning bass, with a single bell clanging. Deep male voices rise in a contemplative manner. These sounds are magnified, exaggerating the effect of the atmosphere. Outcry opens with a rotating cycle, forming a spiralling bass. A bass which works on a couple of levels to create fluctuation and drone. The result being a textured minimalism, layering into a more sighing ominous mood that is Storm Of Fire. Sweeping bass with twitching cycles. More pronounced than Outctry was, its growth pulling us in with each rise. The twitching becoming rotations, punctuated by single beats, lain over the smoother layers. After the heights of Storm Of Fires we have the stripping echo, then bristling feeling of Burning Flesh. Keening, high sounds audible within the rumbling, emerging from that we can vaguely make out dialogue. Which only leaves us with the journey through The Gates Of Death. Great strokes start small, then shimmer in their expansive growth. Looping against a constant bass backdrop. Encompassing and subtle. Following the conclusion of the Burning Flesh material we have the Genius Loci segment. The first part swelling atmospheres and great bell tones reminding of Overture Bells. With moaning voices and creaking layers. The second part maintains some bell tones, more buried in the mix. Allowing for the growth of more tribal feel - soft wind instrument and flat stroking beats against night's sigh. Voices and other elements mix in rich textures. The third section starts with what sounds like the son of monks, slowed and deepened for effect. A firm beat comes in through the background - a measured regularity. This creates a similar mood to Genius Loci Pt II in some ways, but is more stripped, more hypnotic in its delivery. The fourth part also starts with a voice - but of a more normal tone, though it is drawn out. Each vocal peak marked with a going, little sound building with each passage. While the previous piece was hypnotic this in becomes a pendulum - the voice a swing one way, the chime the other. Bass swelling around this swinging construct, with bird sounds a frantic chatering. Which leaves Tat Twam Asi as the conclusion of this new edition of Burning Flesh. A track which is the only track by Inade I was familiar with before picking up this release. The track, previously on Spectre's Book Ov Shadowz , fits well following the Genius Loci material. Though as Genius Loci can be heard to be different from Burning Flesh, so Tat Twam Asi is different from Genius Loci. In some ways ritual in the presence of of percussion, but encompassing with its deep, rounded bass tones. Through the 13 tracks of this release, which covers material from 93 - 98, there are certain tracks that stick out. For me those are shattered Bones, Outcry, Storm Of Flames, Genius Loci Pt II and Tat Twam Asi - each distinctly evocative in their own way. Inade offer a strong mix of dark atmospheres and ritual intonations, contrasting the duo's harsher Ex.Order project. Released on their own Loki Foundation label.

BURNING FLESH CD (Chris Z./ remote induction.com)

Originally released as a cassette back in '93, Burning Flesh is finally made available to those who had no idea Inade existed back then. To make the deal sweeter, 5 other tracks are slapped onto the end. Gorgeously (but sparsely) packaged in a high-quality glossy digipack, this is a fine album from the boys who do it best.

This album (excepting the tracks at the end) is really unlike any other Inade I've heard. At first, I didn't really like it, but that was primarily because I was expecting something so different. For one thing, Burning Flesh is short. The album itself is only 45 minutes, and no song is longer than 7 minutes. Not that this is a bad thing - I was expecting otherwise, though. Also, I've noticed that pretty much everything I've heard from Inade has been significantly different. Aldebaran was spacy, dense, and cold. Burning Flesh, on the other hand, is quite different. It's very atmospheric and ritualistic, and, umm, "warm" in a way. Lots of bells, chants, and calming melodies.. but still retaining enough harshness and darkness to not let you down. And you can refer to the track titles if you need visuals for the songs... Once Burning Flesh ends, the best part begins. Genius Loci pts. I-IV (not sure where these are from) and Tat Twam Asi (from the Book ov Shadowz) are incredible. All of the Genius Loci tracks are wonderful, and flow perfectly from one to the next. These are all very ritual/tribal, and are probably my favorite part of the disc. And last (but certainly not least) is Tat Twam Asi, the oft-praised (by me) track from the oft-praised (by a lot of people) sampler The Book ov Shadowz. You definitely need to listen to this album a few times to get into its groove (especially if you were expecting something different). Once you do that, though, you'll hopefully realize what a damn good album this is... and you'll realize not to pigeonhole Inade!

BURNING FLESH CD (Anton / nezzwerk.com)

By far inade seems to be one of the best bands creating crushing dark ambient. this release (limited to 500 copies) is a collection of rarities that include tracks from 1993 "burning flesh" tape, "genius loci pt. I-IV" (1994-1998) and track from 1997 "book ov shadowz" sampler. Inade's music is a remarkable mix of tribal elements, medieval landscapes and dark noisy textures. pulsating waves of dense sound are seeping through the speakers, astonishing in their monumental proportions. On almost every track there's always some subtle little element that creates an interesting contrast with oppressive dark background. It is amazing to hear the range of sounds that the band creates mixing together eerie creepy noises with monumental elements, creating the depth that other am-bient artists often seem to miss ending up with a "flat" repetitive sound. Among the pieces from the "burning flesh" tape the once that stand out for me include "shattered bones" where pulsing heavy background textures are contrasted by clean synth, creating a unique image of cold medieval sunrise where pure synthline is calling to the skies and leading the listener through the dark ruined hallways. "The coming of black legions" starts out with heavy ritual beat and later distorted mechanized breathing slowly enters the track; militant marching rhythm is layered on top of eerie sound waves. corroded echoing sounds begin "storm of fire" later joined by piercing outbursts of static and heavy menacing beats. "Burning flesh" reminded me of some ex. order material; waves of throbbing noise and samples with clean, pure elements breaking through. Next section of the cd ("genius loci" tracks) seems to take even further the themes of dark years of early christianity and tribal shamanism. all tracks are filled with disembodied voices, distant screams and bizarre tribal elements and appear to be more structured and fluid in their nature. pure and cold ritualistic atmosphere is even more apparent on these four tracks.

"tat twam asi" ends the cd. it incorporates the best elements of the band's sound - cold and noisy sweeping soundwaves, thick brooding basslines and tribal percussion all mixed together with style and precision to create timeless atmosphere. With recent building hype about upcoming "lord of the rings" trilogy, I could not help thinking how perfect of a soundtrack this album could be. The richness and quality of this excellent cd sets the standard for the whole genre and should not be missed by anyone even remotely interested in this kind of music.

BURNING FLESH CD (Arne Thau / Black-Magazin)

Inade?s "Burning Flesh" stellt fÍr mich zweifelsohne die WiederverÖffentlichung des noch jungen Jahres im Bereich der Ritual/Industrialszene dar. Was schon als Tape von 1993 im Verbund mit dem "Seelenhain" als gesuchte Rarit?t gehandelt wird, dÍrfte auch bald fÍr diese CD gelten, zumal deren Limitierung bei lediglich 500 Exemplaren liegt. LÖblicherweise haben die Lokis "Burning Flesh" nicht zu einem typischen ReRelease werden lassen und neben den klanglich aufgearbeiteten Meisterwerken des Tapes noch 30 Minuten unver-Öffentlichtes, bzw. schwer erh?ltliches Material beigefÍgt: Von den Genius Loci-Sektionen I bis IV dÍrfte lediglich der dritte Teil durch die Tapeversion der Achtung-Baby-Compilation bekannt sein. "Tat Twam Asi" war als herausragendes StÍck des Spectre-Samplers "The Book Of Shadowz" zu hÖren. Musikalisch bieten diese 72 Minuten, wie schon ange-deutet, wiedereinmal Ritual-Musik vom Allerfeinsten, wenn auch in meinen Augen wesentlich brachialer, als von heutigen, rar ges?ten VerÖffentlichungen gewohnt. Inade lassen es brodeln, zischeln, zirpen. Die B?sse wummern, Samples und Stahlschl?ge geben sich ein Stelldichein. "The Coming Of The Black Legions" und "Burning Flesh" sind z.B. Powernoise par excellence. Im Kontrast dazu stehen die im Zeitraum von 1994-1998 entstandenen Tracks "Genius Loci" , die ethnische Rhythmen aufzeigen und von denen Part II mit ver?ngstigten Stimmen am besten zu gefallen wei?. "Tat Twam Asi" liefert dann einen wÍrdigen Ab-schlu? in Form oberkehliger Ger?usche fÍr dieses herausragende Werk.

QUARTERED VOID picEP (Richard Stevenson / Spectrum-Magazine)

Slowly rising out of the glacial void, slow drones and scattered pulses mark the introduction of this two-track picture disc. 'Crackling Void' is assisted in its namesake via the vinyl format - slow drawn-out shimmering movements being the stylistic approach. 'Quartered Conclusion' is more singular in direction, that brings to mind their 10" EP 'The Flood of White Light'. The cyclic rotation of sound makes it more active and forceful than the first, the assaulting and fluctuating sonics increasing tension immensely. Given these tracks are a few years old (yet only recently released) I would place the sound of this in the evolutionary period where Inade were moving from death industrial sounds and towards the more expansive and spacious territory explored on the "Aldebaran" CD. In regard to the picture disc format and with the images being of a manipulated eye, could this be potentially referencing the void of the mind's eye? Regardless, all I can say in passing is that too much Inade is never enough!

QUARTERED VOID pic EP (Anton/Nezzwerk)

as a part of preparation for the upcoming "achtung amerika!" festival I dug up a copy of inade's "quartered void" vinyl. the picture disk contains two tracks and has been recorded during 1997-1998. "crackling void" opens with slow evolving structure build upon sparse drops of hollow pulses and distant ethereal chant-like noises. it paints a bleak mysterious landscape where amongst the deserted structures exist a shadow of time, focused on the memories and remnants of the past. the track is more introspective and quiet than usual suffocating menacing environment created by the band. "quartered conclusion" seems to have awaken the demons that release sliding frequencies and break the quiet atmosphere established by the previous track.

V.I.T.R.I.O.L. 7inch (by John C. Smith)

Sonorous chants over the top, tinny rattling metal underneath, all draped in obscurity and dark mystery. The more distinct of the vocals mutates as the track progresses, becoming something unique and monstrous, the textures shifting, an anomalous transformation achieved. From the resonant, ancient milieu something alien and yet timeless emerges; from a place of monastic solitude: the birth of an atrocious enigma--a Cthulhuian nightmare made concrete, subtly signifying the obsolescence of humanity. Just amazing! Flip it over and an even more demented, sub-circuitry, screechy insectile/alien (yes, alien again--it is one of the core elements running through the Inade sound) vibe is attained by scraping and plucking with slivers of bloodied glass on the moaning strings of undefined instruments, electro pulses instigating another trans-formation...but the inherent alien trappings here are made more human--transformed this time via more humanly sympathetic clanking wood percussion and marching synths; but the sounds are still quite unearthly, emanating from an unexplored pocket within the flesh of the earth. Towards the end of the track, an urgency arises, the desire for escape...things are wrong here...Strange muffled, disorientating vocals lead us away from the impending horrors, but safety is only transient. With each new release, Inade expands on their exploration of all things unknown, adding another piece to their interlocking sonic puzzle. Which raises the question: when the puzzle is complete, what revelations will it bring? Brilliant!!!

V.I.T.R.I.O.L. 7inch (Sigill Magazine)

Das Akrostichon aus dem alchemischen "Visita Interiora Terrae Rectificando Invies Occultum Lapidem", was so Viel heisst wie: "Suche das Innere der Erde auf, vervollkommne es und Du wirst den Stein finden", fungiert hier als Titel des neuen Inade-Tontraegers. Das herrlich lichtblaue Coverzeigt eine verkahlte Allegorie, in die, erst bei genauerem Hinsehen erkennbar, das Inade-Symbol integriert wurde. Die Klaenge der A-Seite fallen eher meditativ aus, eine ruhig-stetige Pulsation frequenzmodulierter Flaechen. Ganz anders die B-Seite: dramatisch, packend, impulsiv vom ersten Ton an, steigert sich das Stueck, ohne den Climax zu erreichen und muendet in hallendem Zitat. Fazit: 1. viel zu kurz, 2. muss man haben, 3. Grosse Erwartungshaltung in Bezug auf die naechste Langspiellichtscheibe.

V.I.T.R.I.O.L. 7inch (JUDAS KISS Magazine)

Tribalistic chanting over crashing clannging metal sounds start this 7" off. This track gives off a monsterous nearly alien affect with a chilling aftertaste. The music is deep and dark and it sounds like it is from the creature from the black lagoon. Very intense sounding. Track 2 is again very dependant on the dark dreary monsterous effect. Instruments slide up and down amidst the screeches, scratches and pounds of disasterous instruments which cut through the track like a knife. This is a very dark and disturbing single and has quite a bit of noise intensity so be warned.

V.I.T.R.I.O.L. 7inch (MN-magazine)

The current work of the duo is an audio-investigation of alchemical lemma VITRIOL. Each side of the disk corresponds to half of this enigmatic formula. Spiral dip into underworld is accompanied by ancient guttural singing and oppressive din of hellish turbines. Second part is filled with deep volcanic vibrations and eruptions of mystic sounds and hostile noises. All together make the record the dark-ambient masterpiece.

by Jason Mantis (Malignant)

Thursday, September 2nd
Frederick, MD.
Interzone Music
Lineup; Ex.Order, Schloss Tegal, Inade

Arrived at Richards early Thursday evening and was happy to see a core of tumorlist members among the usual assortment of freaks and degenerates. Even ex-member James Hanna managed to drag himself away from his porno mags and whatever else it is he does and make it to the show (though I can't say I was happy to have him there). Come show time, the front part of the store was filled pretty much to capacity, with a decent overflow into the back of the store. Didn't get an exact count, but suspect it was in the area of 35 or so...so not bad at all for a redneck town in semi-Western Maryland! Kudos to the DC/VA crowd for making their presence felt. Most importantly it seemed to consist of knowledgable people who were generally interested in seeing Inade and Ex.Order, not just there because there was nothing else to do on Thursday night. Rene and Knut took the 'stage' as Ex.Order around 10:00 or so (don't remember now) and played a half hour set of blistering power electronics. After years of listening to the stuff on records and CDs it was nice to finally be assaulted in person! The small environment of Richards store seemed to add a nice dose of weightiness to their sound and tracks that are somewhat subdued on their releases came off as much more aggressive and intense. Rene's flanged vocal effects were nothing short of outstanding and heightened the tension built by the oscillating, rhythmic electronics and hypnotic flash of a lone strobelight. Schloss Tegal followed suit with a set consisting mainly of newly released tracks from the Black Static Transmission CD. Having seen Richard perform several times before I knew pretty much what to expect...nothing visually exciting per se, but a nice solid 30+ minutes of dark ambient noise, drugged voice samples, and surreal textures that moved away from the ambient realm of his CDs and moved towards the chaotic and harsh realm of power electronics. If nothing else, it certainly made for a good segue into Inade, who started (I believe) a little bit past midnight. While the line-up remained the same as Ex.Order, musically it came from an entirely different dimension; thick, pulsating atmospheres and monstrously deep ambience that swirled and throbbed in dense patterns, condensing the already small quarters into a claustrophobic vortex of sound. An astounding American debut that left me anxious to hear what lay ahead for the remaining three shows. Noizguild wrapped things up nicely with a few quick delicacies from their sordid collection. A fun and succesful evening and a great way to start off the next few days.

Friday, September 3rd
Cleveland OH.
Speak in Tongues
Lineup: Ex.Order,Baal, Inade

Ah, Cleveland...what could have been, what should have been, what was. Several elements contributed to the disappoinment of this show, chief among them being the crew (myself, Rene, Knut, and Praveer in one vehicle, Sasha and Shane in another) getting stuck for literally an hour and a half on the Pennsylvania turnpike while a fatal accident was cleared from a tunnel upahead. Finally, we were ushered off the highway and detoured into the rolling hills of Pennsylvania. While it was a beautiful drive (much like German Rene commented), it was also a good forty minutes out of our way. So, finally back on the turnpike, we booked it to Cleveland, arriving at the club tired, frustrating, hungry and stressed out at around 10:00. Small crowd present consisting of a smattering of tumorlist folks (cheers to Scott, Robert, Anton, and perhaps a few select others) and an otherwise friendly and talkative group of people. You can question the lack of promotion for this show (yes, we spent money on this and I have no doubt Stephen busted his balls to make this night a success), but the fact of the matter is a *large* degree of people who said they'd show up did not...that includes not just tumorlist people but people from the Malignant mailing list from Indiana, Michigan, and of course Ohio. At any rate, so Rene and Knut went about setting up their soundcheck, while myself, Praveer, Sasha and Shane ventured into the 'wilds' of downtown Cleveland in search of something resembling food. Suffice to say there's not a whole lot happening in Cleveland and it was easier said that done...the bottom line is, not eating was *not* an option and I question anyone's ability to drive for 9 hours and stay up until 3:00AM without having anything to eat. At any rate, Ex.Order started soon after we got back, this night with the addition of a vcr and monitor. Not quite as intense as the night before (larger room acoustics?), but still quite confrontational and highly charged, the riot videos and strobe lights adding a nice element of violence and unstability. Local act Baal was next with a brutal (if not frighteningly loud) set of crushingly heavy electronics that shook the foundation of the building, shooting sonic bullets at anyone daring to get too close. Unique, dark sounds and really quite impressive material....if John manages to pack half the intensity into a studio recording heads are sure to explode. Only complaint is that it was getting god-awful late at this point and the set was maybe 20 minutes over the expected time, so the decision was made to bump In Death's Throes and get Inade on as soon as we could. Unfortunate, but for the sake of our mental health we didn't have much of a chance. Apologies to those guys, I know you were looking forward to it (as were we), but circumstances warranted....

Anyhow, so Inade rolled onstage late enough (2:30???) so that most of what was left of the crowd had dispersed. Can't really blame 'em per se, but they missed one hell of a show. Even deeper tonight, with the accompanying video (footage from Tibet, space, flowing textures) syncing up perfectly to the hypnotic pulsations and throbs of tracks from Aldebaran, Flood of the White Light, and an amazingly dark and crunching rendition of V.I.T.R.I.O.L. After hearing that track live I have to say it's probably one of the most well crafted and frightening pieces ever done by Inade, period. 3:30AM...maybe 4:00AM, we're outta there! One day that was way too long and one I'd just plain like to forget.

Saturday, September 4th
Toronto, Ontario
Holy Joe's
Lineup: Urban Refuse Group, DJ Chris Twomey, Ex.Order/Inade

Breakfast at Denny's and numerous cups of coffee to get things rolling, then a quick stop at the local CD store to pick up some easy listening items (Metallica 'Kill 'Em All' and the Doors soundtrack for us, two Dead Milkmen CDs - one of which was a double (!), for Sasha and Shane). Then it was off....easy drive today, though a strain on the tired eyes (slowly burning). Got to Praveers house around 7:00, checked in ,relaxed, took a quick nap and watch some tennis with his parents (hey, nothing else to talk about).

Didn't get to see much of Toronto unfortunately, but the club and street it was on was awfully cool...very vibrant, very active. It just so happened that Dimmu Borgir was playing on the second floor (which he had to walk through to get to the third floor obviously) so it was jam packed with Canadian black and death metal freaks. The third floor was much more intimate and artsy...a bar, tables, and stools in the back, couches and chairs for lounging near the stage. A different crowd tonight than the previous shows....more artsy, with very few tumorlist people (cheers to Sebastien from Montreal though for making the trek!) and very few people from my mailing list, but a good showing of around 40 nonetheless. This show also featured an exhibition of paintings by Charles Acethorpe to coincide with the release of Ex.Orders 'Silence + Brutality' mCD, so they lined the sides of the club. To commemorate, Rene and Knut did a special set, fusing Inade and Ex.Order into one show. Despite the mono PA system (????), Rene and Knut on the verge of fatigue collapse, and the high humidity and heat index inside the club, musically it turned out be the highlight of the tour (I think). An hour set that grew in intensity, previously unheard Inade material blending into Ex.Order material as well as some of the more classic Inade tracks, and ending in a grinding, rhythmic climax. Pure brilliance.

Sunday, September 5th

Day off spent sleeping in, lounging around Praveers house & checking out his record collection, and a quick jaunt to Lake Ontario. Nice easy drive ending in Utica New York at about 11:00pm.

Monday, September 6th
New York New York
CB's Gallery
Lineup: Noizguild, Inade, Ex.Order

Got to Sasha and Shane's pad in Greenwich Village in the mid-late afternoon. Great to be in New York and great to get into a city early for once, giving us time to actually relax on the couch, shoot the shit, buy some wine and pizza and just flat out chill. Arrived at CB's around 9:00-ish I think and was met by a host of familiar faces and names. Like Frederick, it was a decent sized crowd (40+), but more importantly comprised of people there specifically to see Inade. *Great* showing from the tumorlist as well as the Malignant mailing list and it made for a very comfortable, friendly atmosphere. Unlike the graffiti filled, grimey charm of CBGBs, the gallery is actually very clean and well kept and perfect for dark ambient shows. Noizguild finally got to do a proper set after being denied in Cleveland and Toronto, playing more ambient/dark industrial material since Inade was to play first. This the same day after wrapping their rental car around a tree on their way home from Toronto!! Much to the chagrin of those that showed up late, Rene and Knut took the initiative to play as Inade first, opting to end the tour on a more aggressive note as Ex.Order. Another beautifully hypnotic offering that opened with The Grinding Inside (I think, can't quite remember) and ending with another rousing rendition of the amazing VITRIOL. Despite some disturbances from some 'goths' on the overhang, it was very well focused and well exectuted set complimented again by the accompanying video images. Noizuild spun some hardcore power electronics in preparation for Ex.Order, who took the stage at around 11:20 or so. Rene and Knut seemed especially fired up this night, and in showed in Ex.Order's set. A full throttle, power electronics attack with hardcore vocals and bristling, pulverizing rhythms, this was Ex.Order in it's finest form. An unrelenting and uncompromising set that I imagine let out all the frustration and aggression from being cramped in the car for 4 days straight. Great show all around and we happily mingled afterwards, drinking beer and relaxing knowing no further obligations lay ahead. Despite some glitches, Colliding Dimensions was very much a succesful tour both musically and supportwise. Thanks to all those that helped make it a reality; Phil Easter, Shane and Sasha, Stephen Petrus, Praveer Baijal, Richard Schneider, Butch Clough, Nicky Elezovic, and of course Rene and Knut for coming over and putting up with all this shit. Flat out, two of the coolest and most genuine people I've had the pleasure of meeting. And of course, thanks to all those that came out and showed their support.

Inade,Con-Dom,Grey Wolves, Dieter Muhr, Hagshadow - The Red Rose Club, Seven Sisters, London, Summer 1999.

I am grateful to Marco Deplano for alerting me to this evening of darkwave ambience (or what I prefer to call 'black noise' on account of the element of order that underlies the chthonic nature of the sound).

I arrived just in time for The Grey Wolves set, an impressive sequence of power electronics that began with the libertine ultimatum: 'you will deny nothing: coitus, anal coitus, masturbation and fellatio', a daemonic motif complimented by an exquisite selection of aesthetic-erotic images through which the Wolves'controlled tempest of rage fulminated like an iron storm of ethereal energy.

Con-dom were next, a solo performance delivered by a lithe, bare-chested figure growling from a maelstrom of sinister violence in which the unpleasantly intoxicating themes of rape, drug addiction and social degradation filled the room like a voracious miasma. The set reached a pinnacle of un-adulterated force as the dark icon of an urban terrorist emerged defiantly from the flames of a burning sub-human edifice. But Con-dom could not be done without provoking at least some members of the audience into revolt. Proclaiming over and over again that 'Women need rape', a few hecklers began a chorus of their own that mirrored the impunity with which the masked misogynist asserted himself.I am convinced that there would have been a more positive response from the crowd had this sequence been omitted but the menacing style of Con-dom seemed to be driving inexorably towards this brutal culmination.

Finally, Germany's Inade appeared beneath a veil of Tibetan ceremony, an enimatic pulse of ritual mystery that transformed the atmoshere of disturbance left over from the previous performance. The plaintive tones of traditional pipes (played live) imbued the air with the pure Ohm of cosmic emptiness as the duo brought the first sequence to its haunting close.

There followed a muted hiatus of near-silence as the screen dissolved into the broken semblance of a stone fountain through which the brown sepia image of the Fuhrer cast a grim white shadow over one of Arno Brecker's heroic sculptures, a ghost of victory that floated across the scene like the fractured vestige of a persistent memory. I began to contemplate the connection between the first Buddhist phase and the Occidental vision of Aryan dissolution when Inade themselves returned to the barren heights of the Vulture's Peak, the Tibetan pipes rising with the oceanic rythymn of an invisible, numinous presence. Like clockwork, Inade's set ended at exactly midnight but the pulse of eternity they had released continued to beat into the heart of the witching hour. A splendid close to a memorable and well-attended evening.

Richard Leviathan


Absolut fantastisch, das Debut-Tape von Inade, welches urspruenglich 1993 in einer Doppel-MC-Box erschienen war. Dies ist `archaic music`pur: maechtige dunkle Konstrukte voller Tiefe und Transzendenz, vergleichbar mit dem Erstlingswerk von Yen Pox.

Ok, it took me a while to warm up to these guys but they are starting to grow on me. The sound here is slow occult textures and darkside electronics. There is a lot of overlap with what Archon Satani is doing.š Occasionally delving into the arenas of darkness ruled by the likes of Inanna or some of the more minima- listic works by Die Sonne Satan. These guys are better than average but not really magnificent. I can appre- ciate what they are doing but for my taste, it is more like a contribution to a body of work than innovation.š The track titles say it all, Shattered Bones, Coming Of The Black Legions, Storm Of Fire, Through Gates Of Death and others. Not a bad entrance, I would like to see where they go with it.

Another vital entry into the German electronics scene. Inade lead us down quite a shadowy pathway with these, some of their first releases. Subterranean layers of washy atmospheres and moderately intense electronics that never become aggressive, but remain relatively low key and calm-ominous drones, loops and haunted factory noises fluctuate and tremor discreetly, with intermittent soft explosions breaking up the brooding ambience. Inade exudes a sort of detached isolating quality-abysmal black holes which draw in all things, a soul-gravity so powerful that even the light of hope can never escape. It's desolate, cold and pessimistic music for a future that appears equally as bleak... hail the new breed!

One of the most appealing sounds that have recently reached us is produced by this German formation.š So far, Inade have only had 2 tape releases on Loki Foundation, but this limited discography has not kept them from establishing a solid reputation in a very short period of time. The Axxiarm Plains is their first 7inch and is based on the ideas of V.Majakowski, the dynamic Russian poet and painter who put his talents at the service of the construction of a communist society because he believed it would help to break down the boundaries of modern society and would lead to a new and better world. The mere knowledge of this very conscient deeper dimension should suffer to pique your curiosity. For the more sceptic and hesitant listeners I would still like to say that Inade`s music penetrates into deepest parts of man+s conscious and subconscious mind with a blend of pulsating trance rhythms and droning fields of sound in monumental textures that are both awesome and moving. This 7inch was a real discovering for me andš I hope that it will be one for you too.

A three-song EP based on the writings of Russian artist Majakowski, The Axxiarm Plains begins with Breaking The Walls, and the low rumble of crowd noise, an occasional bell and washes of white noise that slowly take over the entire track. Above the Plains is a softer, ambient piece featuring a cycling wail and an rising pulse that gives rhythm to the cut. The climax of this EP is Movement and Construction, with a distorted synth-sounding loop which serves as ist foundation, upon wich are layered white noise and random factory percussion.The synth loop drives the piece with static intensity and a sense of frenzy. I will be waiting for further releases from Inade as this has whet my appetite for their work.

Die ideologisch etwas fragwuerdig operierenden Inade von der Loki Foundation produzieren Klaenge, die harsch-rhythmisch nach vorne preschen und mit Stimmverfremdungen und ueberspannten Loops angerei- chert sind. Kein einfacher Hoergenuss.

Gut Ding will Weile haben. Seit der letzten Inade-Veroeffentlichung sind 2 Jahre vergangen und ich moech- te sagen, es ist vorwaerts gegangen. Die vorliegende EP im milchigen clear Vinyl mit handgemachten Cover und Insert setzt sich mit den Ideen des russischen Malers und Dichters Majakowski auseinander. Grenzen undš Mauern der modernen Gesellschaft sollen zerstoert werden -aber nicht um der blossen Zerstoerung will- en- sondern um etwas Neues, Positives zu erschaffen. Stirb und Werde im Rahmen unserer Zeit. Breaking The Walls, der erste Track, entstand zusammen mit Dagda Mor unter dem Projektnamen MK Ultra. Sofort erken- nen wir auch die Weiterentwicklung von Inade, welche in Movement und Construction ihren Hoehepunkt er- reicht: lauter und aggressiver, ohne jedoch nervig, chaotisch oder ziellos zu wirken. In ihrer voellig eigen- staendigen und stetigen Bewegung haben sie eine gute EP konstruiert.

Unlike many of Drone Records' releases, this 7" by Inade is presented in a very simple cover, bearing merely the band name and title of the single in black and white design. However, if the cover is nothing to write volumes about, the three compositions presented on the disc are.
Slowed voices, distorted beyond any possible comprehension, open Side A and "Breaking The Walls." Soon, the first gusts of a stormy sound front move in, and with its icy howl, set metallic objects in motion. Their cold clanking echoes in the distance of this short but stark piece, which was originally created in collaboration with Dagda Mor.
"Above The Plains" likewise features a large ominous presence hovering over the entire composition. Vibrating, sonorous pulses travel through the piece at steady intervals, while the tinkling ruminations of metallic objects, and the singing sound as of a saber being pulled from its scabbard, flash against the tense buzzing curtain of sound.
All of Side B -- "Movement And Construction" -- is one extended piece. A wave of foreboding atmospheres rise at the outset, but is soon beaten down by an aggressive, speeding electronic chord progression that trails through the entire track at a steady accelerating pace. In accordance with its title, "Movement And Construction" has a great sense of kinetic energy, and like the other tracks on Side A, has its fair share of crashing metallic sounds and soughing sonic beams. It is easily the most intense piece on the 7", developing a very frantic mood, as it thrusts forward at ever increasing revolutions into a final swirling whir that continues to develop and mutate until the very end.
This is the second edition of The Axxiarm Plains, which was originally released by Drone Records in April, 1995. The single is pressed on clear vinyl, and was at the time of its initial appearance, Inade's first release on a medium other than cassette. They have since gone on to have a 10" (The Flood Of The White Light) put out on the American label Malignant, and a full-length CD entitled Aldebaran on Cold Spring

Inade are unquestionably the most original explorers of dark atmospheric-scratch that, the meager categorization dark atmospheric barely touches on the sonic terrain unearthed here. Inade are beyond categorization. rarely has a disc embraced such a vast array of unclassifiliable tones and kinetic textures; the sounds manipulated on Aldebaran are from oblique, alien perception, as if the foreign quality of the music is because the creators are not of this earth. The disc consists of four songs, each one split into two parts (the disc distinguishes eight tracks). Signals From 68 Dimensions is an audacious introduction, a full on ascent into a region of space where dimensions collide; the second part of this song contains some of the strangest alien vocalizations imaginable. The current of dimensions overrides both halves, juxtaposing alien, insectile, and even remotely human elements in a boiling pot of sound. The Conquest Of Being Seperated is constructed around an ominous drip- ping sound, from which swirling synths grow more prevalent and shards of corroded sound punture; dead voices are snatched from the vast vortex that is the edge of nothingness, from which the dreamship is sucked into a vault of massive, beautiful machine created void. It is more full than empty, and indicative of a place never traveled. Until now The Crushing Of Earthly Foundations is the point where the human is abandoned, upon soundwave shores, voices again rising from the tumult, eerie singing just clinging to the last vestiges of humanity. Rhythmic pounding and increasingly caustic soundwaves drench the soul in forgetfulness...the final step before the metamorphosis...into what? Time is at a juncture here as pterodactyls screech above the singing. There are so many images triggered by the sounds that the reviewer is left grasping at straws, trying to evaluate, describe, set forth in a fashion remotely acceptable. And yet, that may be the magic of this disc, in that it opens doorways to places never visualized, now vaguely etched into the mind+s eye. Aldebaran is a trave- logue of never before explored regions of sound, space and time. The key word upon listening to this disc is ALIEN. Finally The End Of The Beginning bouncing off the vortex walls, exhalations of another species, the wind from nowhere...the engines of space, the apex of time and dimension, the machinisations of alien civilizations...all of the elements coagulate into a voluminous gurgling void, the throat of eternity gawking wide open...Astonishing!

Eine -auch klangtechnisch- professionell produzierte Konzept-CD auf Cold Spring Records hat die Loki-Formation Inade mit Aldebaran vorgelegt. Schon die Verpackung signalisiert, dass es sich hier nicht lediglich um das Ergebnis oberflaechlicher, habitueller Aneignung eines Szene-Themas handelt.š Der magische Realist und skeptische Romantiker Raziwehl hat einst darauf hingewiesen, dass man das Unwirkliche unmoeglich direkt, sondern nur mittelbar durch Reflektion der Zwischenraeume des Wirklichen ansprechen kann. Diese Erfahrung scheinen auch Inade zur Maxime erhoben zu haben. Der einfuehlsame Tonwert sei hier ungebuehrend knapp als industriell verwurzelte Ritualmusik mit (transatmo)sphaerischen Anklaengen und sparsamen, nur knapp an der Hoergrenze angesetzten Spracheinlagen angedeutet. Dass sich Inade dabei nicht im Sumpf der trance- maessigen Beliebigkeiten und Frequenzspielereien verliefen, macht die Scheibe zum angenehmen Hoererlebniss, das durch Drogengenuss sicherlich noch zu steigern waere- und, nebenbei bemerkt, ausgesprochen gut geeignet fuer ein Experiment der Aussendung des Astralkoerpers zu den aldebaranischen Verbuendeten.š gegen Ende der CD wird uebrigens ein liebgewonnener alter Bekannter in ueberraschendem Zusammenhang im O-Ton zitiert...

Aldebaran is a truly ingenious recording of intergalactic dark ambiences and undulating spacious textures fo- cusing upon the German Vril-society myths believed to be a source of universal spirituality. Inade take you on a mind expanding continuum through the furthest reaches of the solar system.š These eight soundscapes are detached from our human existance, yet compromised of astral forces surrounding all lifeforms in the cos- mos. Signals From 68 Dimensions perfectly builds an air of dark foreboding while unlocking the ancient barriers between different worlds. The second part is a menacing swirl of atmosphereic swelling and nebular emissions accompanied by low inhuman tones. The Crushing Of Earthly Foundations begins with a distant under- current which escalates in surmounting tension, carrying a whirlwind of eerie disembodied cries. An incredible out of body experience recommended for fans of CMI complete with
exceptional packaging and production values.

ALDEBARAN CD (Igor Vaganov/Achtung Baby!)
As is well known, the esoteric rituals of worship to mighty gods for aeons were the most important part of human existance. Hidden behind the celestial luminaries, the indulge world of human awe, faith, life longings, survival and understandings of the metaphysical processes, dominated both around and in us.š In the eve of World War II a certain secret theosophical community in Germany, carrying name Vril society, has undertake an attempt of reincarnation of power and might of ancient myths, based on statement that the whole ecumanical human spirituality (either as the race itself) take headwaterses and are inherited from the ancient constellation of Aldebaran -a black star of sacred knowledge. Really existedš German logotypes of 20-ies lied then in the base for dark, noisy, perfect and doom hymns.
...This is the beginning of the end for you and me. The black light of the universe illuminates the internal world. Open your eyes for the 68 dimensions...This is the level, where the shades of mysterious knowledge are darker than reality.
Fix the traces of the past. They could have prompt you way to that light. All on one! Breath this energy! Feel the pulse of the universe! Convene that power, that force as a part of your right! Fall and arise! This is only a dream. And this is the end of the beginning.......,- many years later, in 1996 on Halloween, on the insulated, pessimistically cool and intensive sound monolith, recorded on the debut CD - released on the British label Cold Spring in the riverbed of black ambientš - Aldebaran, R.Lehmann and K.Enderlein - the participians of the German electronic project Inade - newly return a myth an aforementioned constellation, to draw the intensive emotional gravitation - far enough powerful, insofar not leaving the light of hope for the future, in their own insulated, carried to transcendence, electro-acoustic designs, close on the assonance to Brian Lustmord and Yen Pox. ...š With this work they present arising out of nowhere womb of gloomy sub-sonic substances, abysses, a myste- rious ambience, on CD lenght of one hour precipitating the tightly built in the strange atmospheric harmony sound scapes of post-industrial, outlive scathing vibrations of electro-statics, spreading in the echo of pulsa- tions, rasps and drones of unseen gods, ritual-atomistic bass treatments and arising out of nowhere laryngeal ventriloquisms of vocal, hereunder complementing the oppressive claustrophobia and atmosphere of fatal des- pair into the most itself and oppresssing space. Striking all areas of exalted flesh with a sonic infiltration and opening towards the internal turbo-static vision, some kind of sound empire, generated by the Inade atmosphe- re, is skilfully cultivated in the pumped šš minimalism and begins to grow rapidly, improvingš in suppressing un-clear electro-steady-state pulsations in its downfall into the physiology of space, else long after the completion of record not leaving the suppressed imagination and sensation of simplicity and commonplaces of the
imper- fect surround world. Impressive work!

ALDEBARAN CD (unknown)
This is the debut CD from Inade. They are another new name to me who have immediately impressed me with
their black ambient soundscapes. The CD is in four parts, with two tracks making up each part. Signals From 68 Dimensions is a windswept soundscape with eerie noises for the first part.š The second part is when impres- sive rumles, bursts of dissonance and satanic voices get hold and clearly show that Inade are serious challen- gers as the new masters of death/doom/black ambience genre of music. The Conquest Of Being Separated is a macabre piece of beauty - heavy thuds of doom, horror soundtrack electronics and unearthly noises create an awe-inspiring slice of pandemonium which becomes more intensive and threatening in the second half of the track.š The Crushing Of Earthly Foundations has an exciting tribal, industrial rhythm with washes of unearthly noises for the first part. The black ambience takes on a gloomy frame for the second part, with tenebrous electronics providing the splend dark atmospherics. More superb black ambience is shown on The End Of The Beginning. Inade deliver some of, if not the best, compelling doom/black ambience around today. I highlyš recommend you get yourself a slice of Inade.

Inade haben sich den Weg zu dieser wundervollen CD langsam erarbeitet, begannen mit legendaeren Kassett- enboxen, setzten spaeter bei Drone eine 7inch drauf und praesentieren mit Aldebaran auf dem britischen Kult- label Cold Spring ein wirklich ausgereiftes Werk, was von handwerklichem Koennen, Verstand , Gespuer und Professionalitaet zeugt. Bei dem Thema Schwarze Sonne scheint noch lange nicht alles gesagt, sich mit dem Mysterium beschaeftigende Gruppen spruehen nahezu vor dunklem Glanz und dem fruchtbringenden Feuer der Innovation. Neben dem Sirius koennte auch Aldebaran eine schwarze Sonne im unendlichen Universum sein. Fakt ist, im vorliegenden Falleš ist gleichnahmige CD ein mythisches Werk voller okkulter Ideen und bes- ter Black Ambient Musik. Inade haben im Laufe ihrere Entwicklung konsequent ihren eigenen Styl gefunden, der manchmal an die guten Seiten von Schloss Tegal, Werkbund oder Lustmord erinnert. Doch Vergleiche bringen wenig, denn fuer die einen ist man zu experimentell, fuer den anderen zu pulsieren und und und. šš Bleibt zu bemerken, dass das Digipack schoen, aber manchmal schwer zu lesen ist.šš Gesamteindruck: ueberragend gut. wer Sigill liest, sollte diese CD besitzen.

Erhabene Soundmonumente, wie schwarze Monolithen im leeren Raum stehend, produzieren Inade auf ihrer ersten CD, die endlich erhaeltlich ist. Langsam bauen sich die einzelnen Stuecke auf und erzeugen eine unend- lich weitflaechige Atmosphere, kalt und klar wie im Weltenraum. Im Unterschied zu den bisher veroeffent- lichten Tapes, gehen Inade hier differenzierter zu Werke und setzten zusaetzlich Effekte ein, welche die Musik noch erweitern...erdrueckend intensiv!

ALDEBARAN CD (unknown)
Inade plunges into the black sun of secret knowledge, a mythical birthplace of universal spirituality. Quantum physics reneders rolling soundwaves and severe radiation as an audible realm of crackling demons and unfolding interdimensional lullabies. The Conquest Of Being Separated may even be the court music of Cthulhu's throne-room in the floes of frozen R'lyeh.

Packende, pechschwarze Ambient Music. Wie das Tosen klirrender Stuerme, das Rauschen des Schneetreibens und das droehnende Brechen des Eises in einer endlosen Polarnacht. Laesst das Blut in den Adern gefrieren, wirklich wahr.

Lange angekuendigt, endlich erhaeltlich: 3 neue Stuecke der Gruppe aus Sachsen. šš Minimale Trance und Ambients, mit Didgeridooartigen Blasinstrumenten und Effektschleifen. Sehr wirkungsvoll. Das Licht sucht sich immer den kuerzesten Weg!

Inade has just released an excellent 10inch. If you enjoyedš their previous CD for Cold Spring think that this is even better!!! Great! Obscure power ambient waves with a really dreamy approach...

After their excellent CD on Cold Spring Aldebaran, this German band comes with an very goodš ritual ambient 10inch, still with this shamanic influence but more rhythmed. Offering 2 long evolutive tracks on which the shadow of the Hybryds is hanging over. Inade develops this correspondances between old American wizards and astral perspective of the universe. A darkcosmic ritual from out of space exploring the depths of subcons- cious astral meditation. An oppressive galactic dream.

THE FLOOD OF THE WHITE LIGHT 10inch (S.Knappe, Vital Weekly #104/Netherlands)
The recent release is this limited to 500 copies 10" by Inade, a group from former East Germany who had their debut CD out last year on Cold Spring. On this disk we find 3 tracks of quiet minimal and slowly shifting dark ambient "industrial", consisting mainly of dull sounding drums and long waves of what seems to be a kind of wind instrument, which sounds a little bit like a distorted didgeridoo. We also find little analogue effects between...
I liked the first track on the A-Side mostly, as it has a real hypnotising "beat". Inade sound here much clearer and less droning as on their previous recordings (especially the first two tapes), which I don't see as a flaw. I was reminded on the last Archon Satani 10". For darker hours!

Masters Of The Unknown, The Sonically Obscure:(JC Smith, SPECTRUM -MAGAZINE (September 2000)

When listening to Inade, one is captivated by the fact that, in the realm of all that is sonically dark and explorative, Inade go to places that even the most vivid dark sonicscape practitioners have yet to traverse. The edge of the universe is but a starting point, the perimeters of unknown dimensions, but launching pads, for the dense, ultra-panoramic creations of Inade's sonic cartographers, Rene Lehmann and Knut Enderlein. Since 1991, they have reveled in the creation of music that is limitless, bound to nothing, not even the fathomless reservoir of imagination that overflows from the minds of its creators. As explained by Rene: "The main focus is to transform ideas, concepts or legends which are congruent with our own thoughts and interests. Inade is like an echosounder into unseen/unheard plains and abstract spheres where the anonymous becomes alive. We want to place traces into inter-dimensional spheres from where the listener gets a sonic silhouette, a puzzle of innumerable pieces. The development of the music was probably half calculated and half have elements of chance played a role. During the first years we have changed our equipment quite often and mostly we worked with very limited sources. That is why the final results were more or less depending from what the sound sources gave. Later the conditions became much better and we were able to control and influence the process in the way we wanted." 2000 sees the band shifting into creative overdrive as a plethora of re-issues and new materiel peers over the horizon. "At the moment we are in the process of recording the new full length album. Although it is quite difficult to describe one's own recordings with words, we can say at this point that the new material becomes more intensive and physical. The Crackling Of The Anonymous will be our most complex single work, and we hope that we can finish it during the summer of 2000. We are going to release this CD on our Loki label." Also on the forefront: "The Colliding Dimensions Live LP, with material from the shows we had in the States, the UK, and recently in Prague. Other plans are to reissue the Burning Flesh MC onto a limited CD edition through Loki. That tape was released in 1993 and we are just remastering it and we will add also 30 minutes of unreleased material." How did the shows in the states go? Any highlights:or lowlights? "Before we traveled to the States we have been warned that the conditions to play live Overseas are pretty bad. Maybe we had luck but we cannot agree with that. The whole tour and all the shows went very well and we were absolutely satisfied with it. Jason Mantis [Malignant] and many others did great jobs to organize the events and we felt very welcome there. Beside a mono P.A. in Toronto and some tiring and long driving, there were no real lowlights during the tour." Also just out or forthcoming: the re-issue of 1996's Aldebaran CD, probably the definitive Inade experience (so far), shattering one's meager perceptions of what to expect from dark sonicscape music, a roiling confluence of space and time, dream and dimension, myth and mystery, all channeled through a textural skin of human, alien and insectile design (then again, 1999's V.I.T.R.I.O.L. 7" showed the band expanding on previous sonic notions, an awe-inspiring tour de force that is nothing less than phenomenal!); and the just released Quartered Void 7", one of the innumerable puzzle pieces, the link between Aldebaran, The Flood Of The White Light 10", and the V.I.T.R.I.O.L. 7". As they continue to meld the seemingly known (though each of our perceptions of 'the known' may differ greatly, as constructed by each of our personal psychological and sociological inhibitions) with the seemingly unknown (though each of our perceptions of the unknown' may be hampered by denial, by the fear of allowing 'the unknown' any substantial foothold in each of our singular realities), the work of Inade is, ultimately, designed to open doorways into the possible, in which the dark and the light, the past and the future (as well as the 'roiling confluence' of aural impressions gleaned from Aldebaran's vast sonic portfolio), embrace. Because Inade is the key. It's up to the daring listener to unlock the door. The sonic possibilities are infinite: