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InHuman – InHuman Award winner

by Neil Cook at 01 March 2021, 8:15 AM

Coming from Belgium, InHUMAN formed in 2020, or more accurately morphed from the band Anwynn after a couple of albums and gig etc. Into this new band, refining their Symphonic/Progressive sound with a Death Metal heart. What we have here is their self-titled 1st album as InHUMAN.  Lets dive straight in and review this puppy.

Straight out of the gate “Intro” does exactly what it says on the tin, get things going.  A big cinematic soundscape from a dystopian Sci Fi blockbuster, then straight into “The Chosen Cancer”, which carry’s on musically where the intro left off.  But it is mesmerizing guitars and mix of the Death Metal growls of Detwin in contrast to the operatic stylings of Eline. Together they work better than I had expected.

Clockwork In The Past” again built of the twin vocal delivery, this time with the grunting toned down a touch and opera hysterics dialed down, but the song is no less wide-screen.  There is a lot going on as one would expect from Symphonic Prog, over the top but not over-long. The pounding drums of “Unfolded” drive a railroad spike right between the eyes throughout, the rest of the song wrapping itself around the beat.  And again boom! And done.

The Day I Died” builds on an eerie piano refrain and creepy spoke word before the gruff, harsh vocal invocation gives a suitably chilling feel to the title.  One of the longer songs on the album, but the way it build and builds as the song grows, and the guitar solo is soaringly sublime.  A disturbing piece of music, worth the price of admission on its own. And the “virtual” orchestration suits the song so well.

The choral chanting of the songs title “Unbearably Human” at its outset builds us again into another dystopian cinema, big screen, soundscape, the male grows attuned to the beat, with the female vocals layered on top as a counterpoint to the rhythm. “For The Life Of Me”  gives Eline’s voice a malicious malevolence all of its own, with both Detwin’s vocals and Astrid’s  piano runs just build on the inherent evil in the delivery.  “No Bullet Needed” ramps up the symphonic feel musically, with a militaristic beat to the drums and a nice little folky refrain of the keys here and there all leading into a stunning solo.

Lullaby” is no more or less than an off-kilter run in to “Casus Belli” (Provocation or Justification of War), the restrained yet off putting child-like “Lullaby” leading straight into the most Symphonically Classical, Progressive piece that twists and turns with madness at its soul.  The song is deliciously so far over the top it amazing we can still see it! To say there is a lot going on here is to miss a whole heap of what is going on! All closed out as it started with the plinky plonky piano of the nightmarish lullaby. The album is the wrapped up by the Coda that is “Home”.  Again a very cinematic end to the piece.

There is no way I should like this.  There is so much about it I would normally rally against.  The OTT nature of the music, the Death grunts against the operatic clean vocals.  BUT I love it!  Every manic, mental part of this gel together to produce a whole that is so unhinged you cannot help being sucked into its depths!

Songwriting: 10
Originality: 10
Memorability: 10
Production: 10


5 Star Rating

1. Intro
2. The Chosen Cancer
3. Clockwork in the Past
4. Unfolded
5. The Day I Died
6. Unbearably Human
7. For the Life of Me
8. No Bullet Required
9. Lullaby (Casus Belli)
10. Casus Belli
11. Home
Eline Van de Putte - Vocals
Dietwin Elbers - Vocals
Eerik Maurage - Guitar
Romain - Guitar
Astrid Kaserman - Keyboards
Julien Huyssens- Bass
Yuki- Drums
Record Label: Independent


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Edited 15 April 2021

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