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)
COLLIDING DIMENSIONS TOUR - REPORT, by Jason Mantis
"SEVEN" e-zine has several INADE reviews:
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.
COLLIDING DIMENSIONS TOUR - REPORT
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.
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.
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.
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.
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.
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.
BURNING FLESH MC (S.Knappe)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.
BURNING FLESH MC (ESKHATOS-Magazine)
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. 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. 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.
BURNING FLESH/THE AXXIARM
PLAINS EP (Jason Mantis, AUDIO DRUDGE #6/USA)
THE AXXIARM PLAINS EP (TDR-Magazine)
THE AXXIARM PLAINS EP (LAST SIGH Webzine)
ALDEBARAN CD (John Smith)
ALDEBARAN CD (Igor Vaganov/Achtung Baby!)
THE FLOOD OF THE WHITE LIGHT 10inch (S.Knappe, Vital Weekly #104/Netherlands)
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: