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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.                                                                                                     ▀▀░                                                                                                                ░▄▀                                  ▄█▀                                             ░▄           ░▐███░               ▀█░▄▄▄                    ▄░       ▀█░░                      ░           ▀▀░                                         ▄  ░                                          ▄     █          ▀                 ▄              ▄█▄ ▄ ██▄         ▀░▀     ▄         ▀                ▀░▀   ▀         ▀▀████████▀░                   ▀ ▄      ░                      ░░       ░▀██▀                    ▀██▄                ▄               ▐     ░      ░  █▀▄    ▐▓▓▌   █                    ▄   ▄▄       ░                    ▄▄▌█  ▄▄▓▓▓▀  ▄                      ▄ ▀   ████      ░                   ▐███▌  ░ ░                  ▄██▀     ▄▄██▄▄           ░           ▄▄███▄▄ ▄  ▓                         ▐▓▓▌  ░   ▓████▄        ▀          ▀    ▓█████▓  ▀ ▄                           ▀▓▓▓▄▄   ▐▓███ ▌                       ▌█████      ▀██▄   ▄                ░▄  ▀▀██▄▐████ ▌▐ ▌▓                ▓▐ ▌█▓███       ▐▓▓▌ ▀░▀           █    █  ░ ░▓▐████▄▌▐ ▌▌ ▌▌▐ ▌▐▄ ▐▐·▌▌▐▐ ▐ ▄█████    ▄▄▓▓▓▀                            ▓ ▓▐████ ▌▐ ▌▌ ▌▌▐ ▌▐▐▓▐▐ ▌▌▐▐ ▐ ▌█████ ▄█▓▀▀  ▄░ ░            ▄▄▄░      ▓     ░▐████▄▌▐▄▌▌▄▌▌▐ ▌▐▐▄▐▐▄▌▄▐▐▓▐▄▌█████ ▓     █               █████      ▐▄░   ▓▐████ ▌▐ ▌▌ ▌▌▐ ▌▐▐ ▐▐ ▌▌▐▐▓▐ ▌█████   ▓░   ▄         ▐▓    █▓███░    ▓▐█░▄▄  ▐████ ▌▐ ▌▌ ▌▌▐ ▌▐█ ▐▐ ▌▌▐▐ ▐ ▌█████    ▄██▄ ▀ ▄      █▌    █████▓   ██▀█▀▀   ▐█▓██ ▌▐ ▌▌ ▌▌▐ ▌▐▐ ▐▐ ▌▌▐▐ ▐ ▌███▓█   ▐█▓██▓   ▀██▄ ▀██▀   █████▓░    ▓█▌    ▐████▓▌▐▄▌▌▄▌▌▄ ▌▐▐▄▐▐▓▌▌▐▐▄▐▄▌█████   ▐████▌    ▐▓▓▌▓█▌   ▄█▓███▄░     ▐█▄▓  ▐████ ▌▐ ▌▌ ▌▌▐ ▌▐▐ ▐▐ ▌▌▐▐ ▐ ▀█▓███   ▐████▌ ▄▄▓▓▓▀  █▓  ████████▄▄▓ ▄█████▌ ▐████ ▌▐ ▌▌ ▌▌▐ ▌▐▐ ▐▐ ▌▌▐▐▓▐ ▌█████   ▓████▌░ ▄▄   ▄▄█▄▄ ██████████████████████████████▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄     █████  ░██▓████▓██▓▓██████ █░█████▄▀█▄░████████▄▄▄▄▄██████▓████████░██████▄▄▄▄▄███████░▄██░█░█████████ ▓██▀█████▓░░ ░ ░ ░ ░ ░ ░░░▓███▓█████ ████████▓ ▓██▓▐████▓ ▓██ █░███ █░██████▓ ███▓▄▀█▓ ▓ ▓█████▓███████ ▓███ ░▄▄▄▓████▓ ▓████████▓ ▓██████▓ ▓████▓