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██▌ Artist...: Incubator ░▐██▌
░▐██ Album....: Hirnnektar ░██▌░
▓▐██ Year.....: 1993 ▓▐██▓
▓▐██ Rel.Date.: 2021-04-03 ░▐██▓
▐██ Genre....: Thrash Metal ██▌░
░ ██▌ Label....: Steamhammer ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Album ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. Taste Yourself 5:39
2. Leben 4:55
3. SpritΣtze 3:08
4. Words Can't Hurt 5:20
5. And I Live in Between 4:39
6. SKS Syndrome 4:05
7. So Sad (In the Mind of Us All) 4:59
8. Cookieman 3:35
9. Set the Controls for the Heart of the Sun (Pink Floyd 9:10
cover)
10. Your Life Done 4:40
------
50:10
This very interesting entity, which at present only comprises the band
founder and guitar player Michael Hahn, appeared at the dawn of the 90Æs
with a trendy delivery looking at the Floridian death metal school of
thought (the debut) with an overt thrashy spice. A few quirky, not very
linear decisions were also roaming within those, predating avantgarde
recordings like Babylon SadÆs ôKyrieö and PhlebotomizedÆs ôImmense
Intense Suspenseö. In other words, outside-the-box thinking wasnÆt
exactly ôa strangerö to the proceedings in the bandÆs camp who, however,
had quite a few more surprises in stall for the audience.
The sophomore readily expanded on the established death metal approach
with gothic, doom, and other more or less atmospheric gimmicks the final
result not far from the early Misanthrope psychodramas. An eye-opener in
quite a few ways, this opus (il)logically led to the appearance of the
album reviewed here. To begin with, death metal is a distant memory on
this nectarà sorry, nektar ôproducerö which has been orientated almost
exclusively towards the new vogues; expect post-thrash, grooves,
industrialisms, mechanical staccato riffs ala Prong and Meshuggah, plus
a lot of eclectic, surreal arrangements in the spirit of Voivod and the
Japanese Doom.
Yeah, this least ordinary showing wonÆt be for everyone, but those who
had already adjusted their senses to the new 90Æs music order should
have no problems savouring the dispassionate sterile spacer ôTaste
Yourselfö which will help everyone get a solid corrosive metallic taste
in the mouth with memories of dystopian masterpieces like ôNegatronö and
DoomÆs ôHuman Noiseö, the gruff deathy/hoarse cleaner vocal duel adding
to the strongly hallucinogenic, disorienting environment. A near-thrashy
experience this cut, it doesnÆt quite set the tone for what follows as
this opus has its own twisted mind, the band only throwing two more
similarly-styled intense pieces, the nervy discordant headbanger
ôLebenö, and the short Ministry-sque energizer ôSpritΣtzeö. With all
these three numbers occupying the front seat, the fan may be seriously
misled expecting a vigorous mechanical cannonade to follow suit.
Instead, the music takes a very abstract, highly unorthodox turn with
the surreal acidic progressiver ôWords Can't Hurtö, a leisurely
assembled concoction of spastic dissonant soundscapes that may have been
taken from Killing JokeÆs seductively bizarre ôExtremities, Dirt and
Various Repressed Emotionsö. From this moment onward all expectations
should be cast aside as the trip down the rabbit hole can last
indefinitely, what with the melancholic progressive, also pleasantly
undistrialized rockabilias ôAnd I Live in Betweenö and ôSKS Syndromeö
the latter a serious contender for the ôbest rendition of RushÆs
elaborate vistas for the jilted 90Æs generationö award; or the nervy
chaotic hecticer ôSo Sad (In the Mind of Us All)ö which hysterical
execution is the total opposite to the ambient psychedelic layout of the
sprawling cover of Pink FloydÆs ôSet the Controls for the Heart of the
Sunö, a gigantic 9-min hypnotic instrumental odyssey, the needed sign of
life after this guided meditation being the ôVoivod meets
Meshuggahö-like miasmic jumper ôYour Life Doneö.
And itÆs done indeed, over and out, this very unusual offbeat effort
which wasnÆt the first stone cast in this direction as the Swiss psychos
Verwaint produced something equally as bizarre on ôIt Now Remains for Us
to Explainô a year earlier, not to mention our beloved Old Lady Drivers
who partitioned the whole scene into small eccentric tube-like shapes
with ôLo Flux Tubeö in 1991. Also worth of note is the Swedes
CarbonizedÆs contribution into the fleshing out of this left-hand-path
wave with ôDisharmonizationö the same year, and probably the most
obscure exhibition of lunatic genius from the early-90Æs, the Polish
cohort KinskyÆs crooked deathly avant-gardism ôCopula Mundiö. The album
here by all means stands proud in such a delightfully notorious company,
the guys holding the championship in the field of eclecticism and
non-conventionalism on German soil. ThereÆs no need in classifying this
album with any restrictive labels except as a spacey modernist
progressive metal/rock opera, and regardless of how far-reaching this
may sound, this description seems to be the most objective and most
depleting one.
The band continued bearing fruit later like ôMCMETALXCVIIIö in 1998, but
this instalment trod within the more conventional doom/death parametres
and was quite a radical departure from the originality and vision of the
opus here. Not a bad effort by any stretch, it was even granted a
faithful sequel in the form of "Divine Comedy" which was full-fledged
doom all the way with clean vocals substituting for the aggressive
deathy grunts of old. A big 7-year hiatus followed before
ôLieBissliederö came out, a glorious return to the thrash/death metal
hybridization days from the beginning without too many extravagant
embellishments, but still sounding intriguing and weird enough for the
fanbase to know which particular incubator this ôchickenö had sprung out
from.
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