Reviews:

From Elegy Iberica: (by José de Almeida)

  Para além de deusa babilónica da fertilidade, Inanna é também um dos avatares musicais de Mikael Stavöstrand, mais conhecido pelo trabalho realizado sob o nome de Archon Satani. Originalmente editado em 1992 pela Staalplaat, o há muito esgotado „Days Ov Torment" tornou-se numa raridade de colecção, estando agora novamente disponível pela editora Cold Spring. Apresentado com um novo layout, esta reedição perpetua a memória de um início de década, ao logo da qual todo um estilo apocalíptico e experimental ligado ao industrial se foi desenvolvendo. A sonoridade inorgânica, os sussurros ásperos de angústia, o sentimento de claustrofobia que coabita com a incerteza e medo do desconhecido são apenas algumas das sensações sugeridas ao longo de nove faixas. Misturado por Jouni Havukainen de In Slaughter Natives, esta reedição é sobretudo recomendada aos coleccionadores e entusiastas do género.

From La Defuncion: (By Socorro)

   Por suerte el sello británico Cold Spring ha tenido la genial idea de reeditar antiguos trabajos de bandas que por méritos propios se convirtieron en autentica leyendas de los sonidos extremos. En esta ocasión le toca al proyecto de Mikael Stavöstrand, Inanna. Este personaje fue conocido en un principio por pertenecer junto con Tomas Pettersson (ORE) a la legendaria formación Archon Satani.

  Inanna recoge el testigo que dejó Archon Satani, sonidos pseudo industriales, centrados en el Dark Ambient, unas veces oscuros y relajantes y otras agobiantes y densos. Este Day Ov Torment fue el primer trabajo de Inanna allá por 1993, editado por Staalplaat y actualmente era imposible de conseguir, por lo que se hace fundamental su adquisición para entender la trayectoria de una de las mejores bandas de la música oscura. Para esta ocasión le han cambiado el artwork y todo el sonido ha sido remasterizado para intentar mejorar la producción.

  Sólo nos queda estar atentos, a ver si hay nuevo material de Innana, aunque si después de un largo periodo sin editar nada, aparece un recopilatorio o una reedición, es que la banda no esta muy por la labor, sencillamente esperemos acontecimientos…..

From Black Magazin: (by M.G.)

  Auf diesem Reissue eines ursprünglich 1993 auf Staalplaat veröffentilchten Albums bekommt man eine kleine Geschichtsstunde zu dem, was damals (wenig originell) Death Industrial hieß: Man hört monoton hämmernde Perkussion - aber eden meistens ohne jedweden martialschen Gestus (wie beim Opener "Zounds" oder etwa bei "Ancient Flesh"), das klingt nach Musik aus der Todesfabrik, die eben im Gegensatz zu dem, was später Rhythm Industrial heißen sollte, nicht gerade zum Tanzen einlädt. Da dürfen aber auch einmal sakrale Chöre (z.B. bei "Body Ov Light") einsetzen und immer wieder finden sich neben melodischen Passagen Noisekaskaden, die die Harmonie auflösen und man hört in der Ferne hallendes Knirschen und Knacken ("Besides Eternity"). Natürlich gibt es hier auch allerhand Mummenschanz, wie die übertrieben verzerrte Stimme bei "Zonei", das auch durch Einsatz von Klassikbombast befremdet und an unangenehme (Nach-)Folgeerscheinungen wie Martial Industrial denken lässt. Auch muss man beim Artwork etwas über die Bricolage verschiedenster mythischer Bilder (abgetrenntes Gorgonenhaupt, die Göttin Ishtar etc) schmunzein, aber insgesamt fällt auf, dass das Album gerade auch wegen seiner heterogenen Momente überzeugender klingt, als vieles, was inzwischen auf einen ge- wie übersättigten Markt geworfen wird.

From Neo-Form: (by Nauthiz)

  Keine Frage: der Qualität der Veröffentlichungen des britischen Labels Cold Spring, gerade in jüngster Zeit, ist nichts, aber auch wirklich nichts abzusprechen. Dies wird einem nur zu deutlich bewusst, legt man den oben erwähnten Tonträger in ein geeignetes Abspielgerät, um sich daraufhin die ersten Klänge zu verinnerlichen und um danach in der Lage zu sein, eine Rezension niederzuschreiben, die dem Tonträger sowie seiner Qualität gerecht wird. Über letztere braucht hier nicht diskutiert zu werden, denn das vorliegende Album mit dem klangvollen und Gänsehaut bereitenden Titel "Day Ov Torment" stellt einen Meilenstein dar. Einen Meilenstein im avantgardistischen Musikgenre, im Death Industrial, dem namhafte Bands wie Bad Sector oder Brighter Death Now angehören.

  Konkret handelt es sich hier um eine Wiederveröffentlichung. "Day Ov Torment" war eine der ersten Veröffentlichungen des Schweden Mikael Stavöstrand, und zwar aus dem Jahre 1993, der ebenfalls bei den nicht minder bekannten Archon Satani mitwirkt bzw. dieses Projekt nach Wegfall von Tomas Pettersson (heute bekannt mit Ordo Equilibrio) weiterführte. Während bei Archon Satani mehr noch die rituellen Klänge und satanistische Thematik im Vordergrund stehen, driften Inanna, die sich nach einer sumerischen Göttin benennen, in fast triste, Hoffnungslosigkeit versprechende, verstörende und gleichzeitig bezaubernde Klänge. Klänge, die Bilder vors innere Auge projizieren, wie sie aus den schlimmsten Albträumen stammen könnten, um sich daraufhin wieder süßen, schwermütigen, klassischen Tönen zu bedienen. Man legt Wert auf Variation, hält jedoch den gesamten Grundtenor düster, trist, atmosphärisch. Während ganz zu Anfang, zu "Zounds", fast schon harsche, sehr rhythmisch-treibende Klänge erschallen, variiert "Day Ov Torment", wie ein solcher Tag der Qualen und der Pein eben variieren mag. Einerseits mag der Schmerz unglaublich schwer zu ertragen sein, andererseits vermitteln sehr ruhige und melodische Passagen auf gewisse Weise Erlösung, so z. B. bei "Body Ov Light" und "Her Essence". Düster-depressiv geht es bei "Submission To Solitude 1-3" zu. Ritueller befremdlich klingender Gesang, menschliche Laute im Hintergrund, in Pein und Schmerz verzerrt, ganz dem Titel des Albums treu bleibend. Dies alles scheint wie ein Traum vergessen zu sein, erklingen doch beim nächsten Teil des Liedes bezaubernde und doch sehr melancholische Violinenklänge, um alsbald wieder zu verhallen und der Verzweiflung Platz zu machen. Man fühlt sich sehr stark an Sator Absentia erinnert, die Ende der 90er mit ihrer sehr eigenwilligen Musik begannen und ebenso wie Inanna teilweise zuvor hauptsächlich rituellen Dark Ambient mit elektrischer Violine und Cello kombinieren.

  Inanna legen nicht nur Wert auf Abwechslung in Form von doomigen, industriellen und atmosphärisch-melodischen Sounds, gepaart mit manchmal verzerrten und manchmal sehr klaren Stimmeinlagen, sondern Inanna lieben auch das Spiel mit avantgardistischer Schreibweise, was man als Kenner der englischen Sprache bereits am Titel des Album gemerkt haben mag. Und auch die Titel stechen ins Auge, bilden eine exotische Einheit und erzählen dem der Musik andächtig lauschenden Hörer auf die eigene Art und Weise von deren Inhalt, ständig der eigenen Interpretation überlassen. Mit "Ancient Flesh" schlagen Inanna wieder rhythmische Seiten an, Seiten wie man sie beim Death und Ritual Industrial als erstklassig bezeichnen kann.

  70 Minuten, die sich absolut lohnen, ob nebenbei bei der Lektüre, zur Inspiration oder bewusst erlebt inklusive Kopfkino. Die Wiederveröffentlichung dieses Klassikers einer Klassikerband, die in den frühen 90ern bereits den Weg ebnete für viele später folgende Bands, ist ein musikalischer Juwel im experimentellen Bereich, ein Juwel voll Qualität und Variationsreichtum, der vielen Doom Ambient-Bands abhanden gekommen sein mag.

  Auch das Äußere der CD spricht an, einerseits schwarz, andererseits in warmen Orange- und Brauntönen gehalten. Das Inlay gibt Aufschluss über die Göttin Inanna, über ihre Bedeutung, die sie bei den Sumerern hatte, über die mit ihr verbundene Symbolik. Und während man noch verträumt über diese vor so unendlich langer Zeit verehrte Göttin sinniert, schadet es keineswegs, "Days Ov Torment" nochmals abspielen zu lassen, nur um erneut in dieses kühle, exotische Reich der Göttin Inanna abzutauchen.

From Side-Line: (by DP)

  Inanna is a side-project of the more familiar and famous Archon Satani. “Day ov torment” has been originally released in 1993 on the great Staalplaat label and has been now re-released. It’s a fascinating release inspired by the Goddess Inanna, which leads the listener in an ambient journey. The cold ambient soundscapes have been reinforced by industrial tones and a few, vague martial elements. Now and than some grumbling vocals appears in the background accentuating the spooky side of Inanna. This is a rather classical ambient anthem, but which for sure belongs to the early years of this style. Notice by the way that In Slaughter Natives mastermind J. Havukainen did the mix of this album. In case you missed the original album, the re-release is an opportunity to complete your ambient discography!

From Compulsion: (by Tony Dickie)

  Day Ov Torment is another worthwhile reissue from Cold Spring, this time delving into the death-industrial archives to resurrect this 1993 release from Inanna. Day Ov Torment originally saw the light of day on Staalplaat when Mikael Stavöstrand was still recording as one-half of Archon Satani. Day Ov Torment should be viewed alongside the Cold Spring reissue of Archon Satani's Mind of Flesh and Bones, where Mikael Stavöstrand firmly took control, taking Archon Satani into the soundtrack styled bleak atmospheres that define both that release and this reissue of Day Ov Torment.

  Mixed by J Havukainen of In Slaughter Natives, Day Ov Torment unleashes nine slabs of pitch-black doom ambience, thunderous drumming, gloomy orchestration, heavyset droning, electronic shudders and shrieks and beastly mutterings and groans. There's a risible structure to the tracks on Day Ov Torment. It's filled with grim defiance and a horror film aesthetic dripping with intent and implied dramatics. 'Zounds' opens with windswept ambience as a flurry of drums swell into a relentless tirade of ritual-industrial rhythms, cutting to a distant funeral march before regrouping with a frantic climax of crushing beats and gloomy atmospheres. 'Her Essence' unfurls to the the rising strains of a gothic organ, as spartan death beats are plundered and demonic voices rise from the fiery pits of hell, surrounded by the clanking of percussion and reverberating electronics. Its apocalyptic imagery is unmissable. Timpani drums thunder to the roar of processed industrial washes and the incessant chug of distorted strings on 'Ancient Flesh'. Elsewhere, there's the martial industrial strains of 'Zonei' and the expansive creepy ambience of 'Submission To Solitude 1 - 3'.

  The death-industrial sound of Day Ov Torment is almost synonymous of what would later typify the output of the Swedish Cold Meat Industry label. Listening back it has clearly stood the test of time and you can quite clearly detect its influence on later releases in the genre. Out of print for years this reissue features remodelled artwork carried out with the usual Cold Spring finesse, so if you missed out first time around you really don't want to wait too long.

From Lunar Hypnosis: (by JJM)

  It seems like in recent years Cold Spring Records has reissued a lot of old gems in the experimental electronic genre. Not that I mind of course, a lot of these releases were originally released on new labels and usually in small quantities. So actually getting your hands on a copy meant paying top price, and usually the only way to get them was through online trading sites like ebay. So a little comment regarding this reissue of Inanna’s ‘Day Ov Torment,’ by Cold Spring Records; Thank you, it’s about damn freakin’ time!

  Inanna is the Sumerian goddess of sexual love, fertility, and warfare. The Akkadians called her Ishtar, which is an interesting coincidence too since I’m currently reading a fiction novel that has this goddess in it. This Inanna however is or was the project of Mikael Stavöstrand, formerly of Archon Satani. This album is described as a pioneer in the death industrial sub-genre, although there is certainly a lot going on in this album that even surpasses newer bands that make music like this.
Probably the first point to get across with this album is that it’s creepy. I mean seriously, absolutely terrifying from beginning to end. The songs all feature eerie unsettling ambiance with various other characteristics like; orchestral synths, bloodcurdling growling, voices, chants, and screams, violins being scratched on, harsh noise and industrial vibes, military & tribal drumming, weird random bursts of woodwind instruments, rattling chains, and various other percussive instruments and other sounds and music that I couldn’t even possibly label.

  Some parts of these songs are laid back and glide along gently in a somewhat typical black ambient vein, but most are rather well paced experimental electronic pieces as I’ve described above or some even sound similar to In Slaughter Natives, which isn’t a surprise since J. Havukainen did mix the album. At times these songs also sound like a radio transmission with heavy feedback and noise while lost souls try to communicate a message to the listener. This album is colossal, ‘nuff said.

  If you enjoy artists like In Slaughter Natives, MZ.412, Atrium Carceri, and others that create dark haunting experimental electronic music, than be absolutely sure you here this landmark album from Inanna.

From The Coven Of Janus:

  Inanna is the project that Archon Satani’s Mikael Stravöstrand created in the wake of that outfit’s split and “Day ov Torment” is a reissue of an LP originally released in 1993 on Staalplaat and is probably responsible for creating the genre and launching a thousand similar outfits. Like Archon Satani, this release is a thick slice of Doom Ambience, grinding rumblings, high-pitched screechings, and dread atmospheres, deep distorted voices, crashings , wailing strings and organ, with the occasional staccato of rhythms, reminding one of a night-girt Scandinavian forest where trolls and mischief-making nature spirits still hold sway, disembodied voices placeless in fogs that seem part of the treescape itself, the unwary traveller uncertain whether they are harbingers of help or hindrance, indeed in truth tormenting the senses of the nocturnal sojourner. Tracks that stood out for me were ‘Zounds’, ‘Zonei’, ‘Ancient Flesh’ ( a bird of prey hovering menacingly overhead in the deep black nightsky, pale eyes announcing presence), ‘Submission to Solitude 1+3’ (an extended rollercoaster descent into realms of pain and sorrow) and the mournful funerary call of ‘Besides Eternity’, all threatening thunderclouds and brooding malevolence…

  These are deeply dark and doomy soundscapes, hauntings of a place where even hope has lost hope, packed its bags and deserted the scene…. a recommended listen.

From Blow Up: (by Paolo Bertoni)

  Altra significativa ristampa per Cold Spring è "Day Ov Torment",, l'esordio di Mikael Stavostrand col moniker di Inanna, pubblicato da Staalplaat nel '93, all'indomani dello scioglimentodi Archon Satani (BU#97). La prestanza dell'iniziale Zounds si scioglie nei canti gregoriani e nei rintocchi rituali che accompagnano il lento incedere di Body Ov Light, premessa alla grave Her Essencee, e con pari efficacia l'album procede tra la dark ambient affollata di demoniache voci di Thorn, la possanza di Zonei edificata su loop vocali ed orchestrali, l'ostinazione percussiva di Ancient Flesh, i diciassette minuti di Submission To Solitude, suite in tre movimenti che si chiude con una deformata coda ubriaca e che incastona nella sua seconda parte,, conchiusa in tenebrosissimi scenari death ambient, palpiti ritmici che sembrano anticipare l'interesse più in là suiluppato nei confronti della minimal techno da Stavostrand.

From NecroWeb (by Deathbringer)

  "Day Ov Torment" erschien ursprünglich 1993, und das hört man auch noch dem vorliegenden Re-Release an, zumindest stilistisch. Man fühlt sich direkt zurückversetzt in die 90er, wo viele Größen des heutigen Dark Ambient ihren Anfang gefunden haben und das meist mit den selben Stilistiken wie das Archon Satani in ihrem Sideproject Inanna verarbeitet haben. Damals stand der melodische Dark Ambient wie wir ihn heute kennen noch nicht so hoch in der Gunst der Underground-Musiker. Und so findet man auf "Day Ov Torment" quasi die musikalische Wurzel wieder, des etwas groberen Death Industrial. Wie ein ungeschliffener Diamant präsentiert sich das Album, mit Ecken und Kanten wie sie eben damals üblich waren und auch heute noch von vielen aufgrund des Underground-Charms geliebt werden. Sicherlich ist "Day Ov Torment" keine Offenbarung, aber allemal gut produziert. Die etwas älteren Genreanhänger werden sicherlich so manchen Anstoß zum Schwelgen in Erinnerungen finden, für die jüngeren Hörer ist dieser Re-Release eine wunderbare Zeitmaschine um die stilistischen Wurzeln des Dark Ambient hautnah zu erleben, wenn auch in neuem Soundgewand.

From Heathen Harvest: (by Luminatrix)

  “This is a re-issue of Inanna’s first CD, initially released in 1993 by Staalplaat Records. Inanna was a project of Mikael Stravöstrand, previously of Archon Satani. The re-issue is remixed by Jouni Havukainen of In Slaughter Natives fame. So even if you haven’t listened to it before you know more or less what to expect, an ominous, uncompromising, puristic approach to the darker aspects of the intellect.

  “Zounds” quickly gets us into the atmosphere, with merciless drumming, eerie mechanical sounds on the background, resembling partly wind, partly the distant shrieking of banshee voices, and a menacing escalation towards the end that blends into the whole to create an anxious, fearsome atmosphere. Its harsh, almost metal orchestration makes it pretty clear this is going to be a rough ride, and we aren’t going to be spared in its process. Metallic, darkened landscapes come to mind along with swift marches of indescribable soldiers, as we are ushered with them to the next track, “Body Ov Light”. It starts off with a rather pleasant build-up of subtle bells and chimes, that stop abruptly to give their place to a solemn, ritualistic chant and its overbearing musical escort, only to appear again afterwards, providing the conditions for what seems to be a birthing or cleansing ritual. Formally, meticulously and efficiently executed.

  The partaking of the light leads to the next track, “Her Essence”, which is clearly of a more militaristic nature. This could easily be the soundtrack for the procession of the armies of Hell. As a repeated escalating organ sequence is mixed with the thumping of the footsteps of unimaginably huge creatures, and their moans and unutterable cries, all this is distorted and mixed with static, reverberating even more persistently as they draw nearer. It grabs the listener by the throat and imposes its imagery rather than simply imply it. Purely amazing.

  “Thorn” on the other hand is more on the dark ambient side of things, featuring the same chimes and bells used to escort the ritual in “Body Ov Light”, and a distorted, menacing male voice reciting sentences in an unknown language in the midst of organ compositions reminiscent of a horror film. The foul winds are rising, the foreboding feeling of despair and helplessness prevails, as we are left in the middle of the abandoned, dusty, decomposing building, sensing the calm before the storm, hearing the nameless creatures crawling towards us. Reminds you of horror novels doesn’t it? That’s more or less what it sounds like. And that of course, is always a good thing.

  “Zonei” is difficult to label, if I really had to I would say martial industrial with a touch of black ambient. Imposing, majestic violin sequences and belligerent, funereal drumming set the tone to what seems like a declaration of war. The same distorted, sinister male voice makes a clearer proclamation now, and unfalteringly finishes its speech, for “Ancient Flesh” to start off with the same martial drumming, only this time the rhythm is a little more urgent. It’s a lot like the first track, a short and accurate intro to a longer, intensely ritualistic track, “Submission To Solitude I - III”. “Submission” is the longest track of the album, an amalgamation of metallic sounds, uncanny synths, echoes of many different voices, tribal drumming, static and pretty much everything else you can and cannot imagine. Like strolling through this domain and picking up random signals and images, sometimes assisting to its understanding and sometimes making it more difficult. Towards the end it fades into a muffled drone, and “Besides Eternity” launches with clear bell sounds and buzzing drones in the backdrop, building up the tension, bursting free and subsiding again in an infernal manipulation. “Exhalted Inanna” is the climax to all this, setting off with the now familiar militaristic musical scheme, introducing some fiendish male vocals somewhere along the way, dropping to almost complete silence in about the middle and picking up again with what must be the most rhythmic part of the album, mixing the aforementioned militaristic musical scheme with fast-paced tribal drumming and operatic male vocals.

  Imagine MZ 412 with the vocals of Bisclaveret, wandering away in Atrium Carceri’s Citadel, conducting warfare assisted by Tribe Of Circle’s “Children Of A Weakened God”, add an extra ritualistic flavour to all that, top that with the best horror literature you've ever read, say Lovecraft, Arthur Machen and so on, and you begin to have the slightest idea of what this record feels like. If you don’t have it, don’t miss it.

From Obliveon: (by MK)

  “Day Ov Torment” wurde im Original bereits vor vierzehn Jahren veröffentlicht, doch hört man sich das Album heute intensiv und gewissenhaft an muss man konstatieren, dass es absolute zeitlos klingt und ganz offensichtlich keinerlei Abnutzungserscheinungen unterliegt. Die düstere Atmosphäre aller neun Stücke nimmt den Hörer sofort gefangen, wobei musikalisch wirklich alle Register gezogen des Ambient/Death Industrial-Genres gezogen werden. Sakrale Elemente, Glockengeläut, mystische Stimmungen oder geisterhafte Stimmen findet man hier eben so wieder, wie harsche, aber nur sehr sporadisch eingesetzte Rhythmen, verzerrte Samples oder beinahe schon Martial Industrial artige Passagen, die auch produktionstechnisch heutigen Standards zur Ehre gereichen und sich ungemein intensiv auf die Psayche des Zuhörers auswirken. Cold Spring haben mit dieser Veröffentlichung erneut gezeigt, dass sie ein feines Händchen für die Wiederveröffentlichung beinahe in Vergessenheit geratener Klangperlen des Undergroundes haben.

From Vital Weekly: (by NMP)

  Once again British label has opened the treasures of the past. This time they have dived into the dark territories of ambient sound and found some real pearls of orchestral beauty. The first is the classic Swedish death Industrial/dark ambient opus "Day ov torment" from Inanna whose real name is Mikael Stavostrand. Mikael Stavostrand is first of all known for his Archon Satani-project in collaboration with Thomas Petterson, but also for his more sound art-based releases under the Korm Plastics-label as Mikael Stavostrand. This album originally released by Dutch label Staalplaat operates in the dark and gloomy caves of industrial ambient as was the case with his Archon Satani project. "Day ov torment" though, focus much more orchestral expressions and grandiose soundscapes and lesser on the extreme blackness of Archon Satani. The emptiness and the grandiose impression on the album are intensified by the presence of eerie choirs, ghoulish voices and creepy passages of screeching violins. The repetitive nature of the musical expression combined with the echoed sound production, sounding like had it been recorded in a cathedral, assist to create an intense ritual atmosphere. Remixed by Havukainen of In Slaughter Natives the album has gained the perfect sound for a voyage into the darkest areas of ambience! Listeners of neo-classical ambient, should not miss this classic piece of dark symphony.... Two excellent reissues from Cold Spring Records both of them highly recommended to people interested in neo-classical or orchestral ambient.

From Gothtronic: (by Bauke)

  In the last 15 to 20 years a lot has changed in the world of music. Projects were very much dependent on hardware for sound-creation and tape-recorders (multitrackers) for there recordings. Bands were still recorded on 16 track Tascams and computers with a reasonable capability were beyond everybody's financial capacity. Let's face it, in 1993 a 286 PC still would have been a whopping 2k$ to 3k$.

  It was only 15 years ago and the scene was also very different back then. Because of the absence of computers for the masses there were less bands, who were better known, and one of the leading bands in death-industrial was Archon Satani. The two persons in this project were Mikael Stavöstrand (currently working under his own name) and Tomas Pettersson who is now the engine and mastermind behind Ordo Rosarius Equilibrio.

  But, this is a review from a re-release from Inanna's 'Day ov Torment' so let's stick to that. Originally released in 1993, 'Day ov Torment' was the first CD for Inanna after a handful of tape-releases and after this, three more CD's and one cassette followed.

  Eight years after the final official output on Crowd Control Activities Cold Spring re-releases this gorgeous album which was imho a landmark for death industrial. Mainly a landmark because of the audible integration of neo-classicism and martial music. This crossover of styles opened a scene for many artists to come, which makes this album not only worth listening, but - as said before - a definite landmark for the underground music scene.

  Opus magnus on the album is still the 17 minute epic 'Submission To Solitude I - III' but there are 8 more tracks on there which each makes this album worth getting.

From Stylus: (by Cosmo Lee)

  UK institution Cold Spring remasters and reissues this classic death industrial album from 1993. It shows its age with machine percussion, but the sound is refreshingly full-bodied. Evil chimes and endless whooshes go through the reverb tank, immersing the listener in focused, menacing atmospheres. Strange bellowing, distorted screams, and indeterminate rattles echo through hellish chambers with German Expressionist films flickering silently on the walls. Mournful pads writhe amid symphonic samples summoning jackbooted doom. In the distance, alarms sound for the already-dead; pipe organs low for no one. This is the after-party of war: sifting through the rubble.

From Terrorverlag: (by ImBlutfeuer)

  Bei „Day ov Torment“ handelt es sich nicht um eine neue Veröffentlichung des ARCHON SATANI-Seitenprojektes INANNA, sondern um die Wiederveröffentlichung der Staalplaat-VÖ aus dem Jahre 1993. Das britische Label Cold Spring schreibt sich mit diesem Album ein weiteres Mal die Neuauflage eines Klassikers auf seine Fahne. Hinter INANNA steht Mikael Stavöstrand, der auch durch seine Zusammenarbeit mit IN SLAUGHTER NATIVES bekannt geworden ist. In den vergangen Jahren machte er sich eher mit Veröffentlichungen im Minimal- und Technobereich einen Namen.

  „Day ov Torment“ ist ein wuchtiges Death Industrial Album, welches auch nach 14 Jahren noch viele neue Projekte locker in die Tasche stecken kann und seine Reizen in keinster Weise verloren hat. Auf den neun Stücken wechseln sich druckvolle Stücke mit ruhigen Passagen ab. Verstörende Töne, unheimliche Stimmen, rhythmische Elemente gehen einher mit neoklassischen Passagen, Trommeln und atmosphärischen Flächen. Aber immer bleibt die Grundstimmung absolut finster oder wie es der Internettranslator treffend übersetzt hat, ultra grimmig. Der Hörer bekommt das Gefühl vermittelt, einem Monster bei seiner Erweckung beizuwohnen - hoffnungslos, ihm zu entfliehen.

  Wer das Album nicht schon im Original in seiner Sammlung hat, sollte auf jeden Fall zuschlagen. Dieser Tipp bezieht sich natürlich nur auf Hörer düsterer Musik wie Death Industrial oder Dark Ambient. Der Großteil der „Anderen“ könnte beim zufälligen Hören Beklemmungen und Angstzustände bekommen. Empfiehlt sich nicht zum Hören bei einsamen Fahrten auf nächtlichen Landstraßen.

From Darkroom: (by Roberto Alessandro Filippozzi)

  L'inglese Cold Spring è fra le etichette più attive nel recupero di opere del passato ormai fuori catalogo, specialmente in ambito industrial e dark ambient, e stavolta si preoccupa di ristampare l'ennesimo classico del catalogo Staalplat, ovvero l'album "Day Ov Torment" del progetto Inanna, ormai risalente a 14 anni fa. La storia inizia dallo split avvenuto nel '93 in seno al seminale duo svedese Archon Satani, che ha portato da una parte Tomas Pettersson a concentrarsi sui suoi Ordo Equilibrio (inizialmente il termine 'Rosarius' era assente) e dall'altra Mikael Stavöstrand alla creazione di Inanna, progetto decisamente più allineato alle sonorità mortifere degli stessi Archon Satani, forse proprio per via del fatto che questi ultimi sono stati portati avanti in solitaria per un breve periodo dallo stesso Mikael (oggi in tutt'altre faccende affaccendato, musicalmente parlando). Quel che è certo è che gli Archon Satani furono fra i pionieri del cosiddetto suono 'death ambient', ovvero la frangia più opprimente e 'nera' della scuola dark ambient di stampo esoterico (forti, in tal senso, i riferimenti a divinità, simbolismo e cabala), ed Inanna divenne col tempo l'ideale continuazione di un simile discorso artistico, inanellando una serie di lavori ormai considerati alla stregua di oggetti di culto nella scena. Fra essi c'è anche questo "Day Ov Torment", oggi riproposto in formato opportunamente rimasterizzato e fornito di un nuovo artwork: un'opera nera come la pece, assolutamente mortifera ed opprimente nelle sue spesse trame dark ambient, scandita dall'ossessivo clangore delle sferraglianti percussioni e resa solenne da una serie di inquietanti arrangiamenti dal taglio sinfonico perfettamente adattati ad un contesto così oscuro e ferale. Che la vogliate definire death ambient o meno, quest'opera centra in pieno l'obiettivo di ricreare un'atmosfera gelida, maligna ed oscura, dove la luce non può penetrare: la summa di tutto ciò sta negli oltre 17 minuti del mastodonte "Submission To Solitude 1-3", esemplificativi dell'abilità di Mikael nel ricreare alla propria maniera le intuizioni fondamentali di Archon Satani, peraltro spinta ai massimi livelli di creatività verosimilmente proprio con l'album in questione. Se dalla musica cercate sensazioni opprimenti e mortifere e vi eravate persi questo caposaldo del suono death ambient, ora avete la possibilità di rimediare e/o di completare la vostra collezione, ancora una volta grazie all'attenta opera di recupero dell'ottima Cold Spring. Facendo sempre attenzione a non 'scherzare troppo' con vibrazioni potenzialmente (e spesso volutamente) pericolose...

From Filth Forge: (by Simon V)

  Cold Spring proceeds in its reissue program, this time bringing back to life one of the forgotten masterpieces of death industrial, Inanna's "Day Ov Torment". Originally released in 1993 by Staalplaat, this was the first full-length CD of Mikael Stravöstrand's solo project, and unarguably the best. Out of print for many years, it's now available again with a renewed artwork, using elements from the original to create an even darker and more disturbing graphic presentation.

  If you are familiar with any other of Inanna's early releases, or with Mikael's former project Archon Satani, you probably know what to expect: this is the quintessence of death industrial, with thundering industrial percussions, bells, hereafter choirs, demonic voices and slow, distant gloomy orchestrations, evoking a hellish vision of the apocalypse, a hallucinated and nightmarish journey through an underground realm inhabited by beings too horrible to be described. Take Archon Satani, mix them with Memorandum, In Slaughter Natives, Megaptera and Morthound, and you will get an idea of the bombastic and astonishing sound of "Day Ov Torment".

  The CD opens with the hypnotic ritual of "Zounds", built around a creeping subterranean bubbling soon towered by hammering drums, sheet metal cacophonies and sinister winds blowing. Towards the end, a church organ starts to play a funeral melody. Not less disturbing is following "Body Ov Light", with its forest of bells, doomy organs and sacral atmosphere. But, the most disturbing and effective composition of the album is undoubtedly "Her Essence", the perfect soundtrack to the awakening of one of H. P. Lovecraft's Ancient Ones, marvellously portrayed in music by the obsessive, thundering percussions, the anguished organ, the horrendous reverberated roaring and the distorted voice growling in the middle. This track couldn't be missed on a sampler with the top death industrial tracks of history.

  Inanna would have definitely been a great addition to the original Cold Meat Industry rooster, and "Day Ov Torment" would have deserved to be released among the Swedish's label early masterpieces. Because of its lack of exposure, both the project and this groundbreaking CD never got the attention they deserved. Praise once more to Cold Spring for having resurrected this unforgettable cornerstone of the most haunting death industrial ever created. Strictly recommended to both those who had been looking for the original press for ages, and who hear about Inanna for the first time.

From Ritual: (by Giorgio Moltisanti)

  Come dite? Fa caldo? Allora questa ristampa ta al caso vostro. Innna era la dea sumera della fecondità e della bellezza, ma in realtà questo side project degli Archon Satani, edito la prima volta su Staalplaat nel 1993, ha più a che fare con il mondo algido, minimale e austero dell'ambient industriale che con qualsiasi cosa possa definirsi unanimemente bella e/o feconda. Un album, questo, solista in tutti i sensi. Nessuna voce, se non quella dell'animo di chi to ascolta. Un viaggio dentro al cuore e il cervello ('Submission To Solitude I-III'). Come in una fabbrica abbandonata dove ci si muove con paura di farsi male ('Besides Eternity'), scorgere bestie strane ('Her Essence'), rompere qualcosa o far male a qualcuno ('Exhalted Inanna / Hurt'). Nove movimenti di impressioni sonore dell'autore. Pure di impressionismo quindi si portrebbe parlare, forese... Il disco venne mixato da J. Havukainen, deux ex machina di In Slaughter Natives.

From Judas Kiss: (by SC)

  ‘Isis, Astarte, Diana, Hecate, Demeter, Kali, Inanna.’ Repeat ad nauseam. This is the so-called ‘Goddess chant’ of the Wiccans, familiar to me through having heard it used at many a ritual. (Not that I’m a witch myself, you understand, but some of my best friends… etc.) Why do I mention it? Well, it’s just because, before this arrived in my in-tray courtesy of Cold Spring Records, this was pretty much the only association I had with the name Inanna. Inanna was the ancient Sumerian goddess of love and warfare – a happy combination. Hippies liked to preach ‘Make love, not war,’ but Inanna, like any reasonably rounded human being, is equally capable of both. Inanna was also known to the Assyrians and Babylonians as Ishtar. Latterly, this divine lady has been pleased to lend her name to the solo project of Mikael Stavöstrand, formed after the split of seminal death industrial band Archon Satani. (Tomas Pettersson, Stavöstrand’s bandmate in Archon Satani, went on to form Ordo Rosarius Equilibrio.)

  Day Ov Torment is the debut album of Inanna, originally released by Staalplaat in 1993, and now made available to a new generation of dark music fans by Cold Spring Records. The album was mixed by Jouni Havukainen, of In Slaughter Natives fame, and it contains nine tracks, totalling 65 minutes. The opening track, ’Zounds’ is overwhelmingly percussive, thick with industrial-strength beats and sampled martial music. But the album is far from unvarying. ’Body Ov Light’ begins as a NON-like drone piece, before moving into more Elend or Raison d’Être-style dark ambient territory, with minatory orchestral chords, tolling bells and choral vocals. ’Zonei’ brings back the beats and militaristic leanings, with a Laibach feel to the blend of heavy electronic beats and cinematic orchestral passages. The lengthy (over 17 minutes) ’Submission To Solitude I – III’ goes through several phases, opening with subdued ambient tones before introducing beats and muttered vocals, shifting into a minimalistic drone interrupted by insistent metallic hammering, building up steam with distant yells and more heavy percussion, becoming very eerie and phantasmal around the 11-minute mark, then launching into further dark ambient explorations before ending as quietly as it began. ’Besides Eternity’ starts with ritualistic metal chimes in Chaos As Shelter / Hati style, before pitching the listener into an echoing chasm of looped orchestral strings.

  Although Day Ov Torment sounds like an album of its early-90s time, it’s easy to see how this album has been an important influence on a lot of today’s death industrial acts – projects like Predella Avant, Funerary Call and Necropolis. In this sense, Day Ov Torment is an ideal companion piece to last year’s Cold Spring reissue of Archon Satani's classic Mind of Flesh and Bones.

From Musique Machine: (by Roger Batty)

  It easy to hear why Cold spring decided to re-release this edgy and pitch black death Industrial album from 1993, As it’s surprisingly undated and conjures up one hell of a dark vicious and blackly majestic atmosphere.

  The only thing that dates it slightly are the electronic rhythms, but when they do appear thankful there not too loud or jarring in the mix & never really take away from the musics dark timeless-ness. The album is made up of grandly dark string drones and choppings, evil choirs, ritual air, doomy piano cord strikes, church organ gloom, black eastern textures, weird guttural demonic animal breathing and sinister muffled/distorted vocals. From the outset to it’s last doom-toll, this swims in wonderful dark musty and decay waters of black grandeur. Almost like the soundtrack to always dark kingdo, it’s black scaly landmass doted with white bone and streached flesh buildings, where Towering and sinister gods rule over pale undead citizens. If Satan and his hence demons were every to take over our world this could well be the soundtrack to their glistening, painful yet majestic court.

  A Grim and demonic album, high with pitch black atmospheric and tense with slicing macabre-ness and dramatics. So come closer and stare into the eyes of the beast…....

From Twilight Zone: (by Michele Viali)

  Per poter presentare al meglio questo lavoro è doveroso fare qualche passo indietro: il progetto Inanna, la prima delle creazioni musicali dello svedese Mikael Stavöstrand, nasce all’alba degli anni’90 nel fermento musicale che caratterizzava la Scandinavia di quel periodo, fermento capitanato senz’altro dalla Cold Meat Industry di Karmanik. Con una serie di produzioni in cassetta questo progetto segnava in modo indelebile, insieme ad altri autori del tempo, lo sviluppo del filone death industrial, che ai nostri giorni è ancora una fonte di ispirazione inesauribile per tanti autori, sebbene sia in sé un capitolo musicale ormai chiuso. Apparso grazie all’ausilio dell’allora fondamentale label olandese Staalplaat, “Day ov Torment” fu la prima pubblicazione su CD della creatura di Stavöstrand, il quale, dopo qualche altra pubblicazione (diventata adesso merce per collezionisti) decise, sul finire degli anni ’90, di concludere questa avventura. Parallelamente l’autore svedese mise in piedi, insieme a Tomas Petterson, anche il progetto Archon Satani, forse più fortunato a livello di mercato, ma nettamente inferiore al più diretto e crudo Inanna. A distanza di 14 anni, l’etichetta Cold Spring ripropone la forza e la genialità del “Tormento” con questa ristampa magistrale, rimasterizzata per l’occasione. Ascoltato adesso l’album mostra i segni del tempo, soprattutto nelle percussioni “antiche” e nelle modalità di filtrare la voce, ma questi particolari non sono pecche, sembrano essere piuttosto le rughe sul viso di un saggio, lo splendore della classicità. I samples agghiaccianti ripetuti all’infinito, i rumori circolari ossessivi, i drones rituali celebrano ora più che mai la grandezza e la genialità di questo disco. “Day ov Torment” è una pietra angolare del genere, acquisto obbligato (per chi non lo avesse già comprato nel lontano 1993) per chiunque ama la musica elettronica, l’industrial e la sperimentazione. Come di norma per le ristampe, la Cold Spring decide anche in questo caso di modificare la copertina rispetto all’originale, ma l’unico vero neo è rappresentato dal breve testo situato all’interno dell’inserto e stampato in tono scuro su sfondo nero: in pratica non si legge niente. Per il resto un lavoro da standing ovation.

From Alternativ Musik: (by Marius Meyer)

  Neben den regelmäßigen neuen Veröffentlichungen im britischen Hause Cold Spring gibt es auch mit zunehmender Verlässlichkeit immer wieder Re-Releases von Perlen verschiedenster Couleur. Neben The Scribbler von Shinjuku Thief (siehe entsprechende Rezension) sind nun auch Inanna dran, deren Day Ov Torment ursprünglich vor 14 Jahren in den frühen 90ern auf dem Label Staalplaat veröffentlicht wurde. Hinter den Reglern bei dem Album saß J. Havukainen, der durch seine Arbeit bei In Slaughter Natives bekannt ist. Von vielen wird Day Ov Torment noch heute als ein Meisterwerk bezeichnet, verknüpft es doch auf ansehnliche Weise Stile, die mit „Death Industrial“ und „Doom Ambient“ angemessene Bezeichnungen finden.

  Hinter Inanna steckt Mikael Stavöstrand, der 1993 die Formation Archon Satani verließ und sich seitdem als musikalischer Tausendsassa durch die Musikwelt bewegt und dabei auch immer wieder Ausflüge in den Industrialbereich macht (kein Wunder, zählt er doch Throbbing Gristle zu seinen Vorbildern). So beispielsweise vor 14 Jahren mit Day Ov Torment unter dem Namen Inanna. Was er dabei bietet, ist am ehesten als hochqualitative Musik für Minderheiten zu bezeichnen. Wie es mit Industrial so ist, erschließt sich diese Art von Musik keineswegs jedermann, aber wer Musik dieser Art mag, dürfte schnell verstehen, warum dieses Werk eine so hohe Wertschätzung erfährt.

  Wie bereits einleitend erwähnt, sind es „Death Industrial“ und „Doom Ambient“, die es hier zu hören gibt. Vor allem die industrial-lastigen Parts der CD sind nichts für schwache Nerven, wie bereits der eröffnende Titel Zounds zeigt. Unheimliche Klangsphären bauen sich auf, der Hörer weiß noch nicht, was ihn erwartet. Harsche Trommeln und verstörende Hintergrundgeräusche ergänzen sich, es kracht und flimmert also. Nie weiß man so recht, was als nächstes kommt, die Grundatmosphäre aber ist stets absolut finster. Dabei sind es aber nicht nur die krachigen Teile, die – wie anhand des Openers als Beispiel geschildert – zur Verstörung beitragen: Auch die getrageneren Parts, hier zahlreich vertreten, beängstigen. Sie wirken oft sehr ambient, sind dabei aber alles andere als harmonisch. Eben das, was mit „Doom Ambient“ gemeint ist.Geräusche, Samples, Frequenzen und immer wieder industrielle Einschübe sorgen dafür, dass jedes Gefühl von Harmonie schnell im Keim erstickt wird.

  Es ist sehr positiv, dass dieses Album nach 14 Jahren eine Wiederauflage erfährt, begegnet einem doch ein Album, das auch heutigen Industrial-Acts in vielerlei Hinsicht gewachsen oder sogar überlegen ist. Wie allerdings bereits erwähnt: Es ist Minderheitenmusik, sofern man den traditionellen Musikbegriff hier überhaupt anwenden kann. Auf künstlerische Weisen werden verstörende Klänge mit Vielseitigkeit geschaffen. Aber man muss eben ein Ohr für diese Art von Klängen haben. Für Freunde von Industrial und düsterem Ambient ist dieses Album eine ausdrückliche Empfehlung (wenn es nicht sowieso schon im Original den Plattenschrank ziert), anderen könnten diese Klänge sicher Unbehagen bereiten. Im Zweifelsfall lässt sich ansonsten auch auf der Labelseite der Titel Ancient Flesh Probehören.

From Mentenebre: (by Fernando O Páino)

  Inanna, además de ser una diosa del amor y de la guerra alabada por la civilización sumeria y protectora de la ciudad de Uruk durante la edad antigua de la humanidad, también fue el proyecto que Mikael Stavöstrand creó tras dar por finalizado el célebre conjunto de Dark Ambient, Archon Satani.

  Archon Satani era un dúo formado en 1990 por Mikael Stavöstrand y Tomas Pettersson, juntos crearon grandes trabajos centrados en el género Ritual y Dark noise, como “Beyond All Thee Sickness”, o el impactante “Memento Mori”. Sin embargo, poco duró esta unión, puesto que durante 1993 Pettersson abandonará el conjunto para centrarse en su nueva banda Ordo Rosarius Equilibrio. Fue en ese momento cuando Stavöstrand decidirá centrarse en su proyecto aislado bajo el nombre de Inanna, componiendo temas relacionados en cierta forma con lo ya realizado en Archon Satani, el sonido de In Slaugther Natives o los primeros trabajos de Coil.

  “Day ov Torment” fue el primer disco de este proyecto en solitario. Originariamente editado por el sello Staalplaat en 1993, su grabación se produjo un año antes, cuando Stavöstrand todavía se encontraba entre las filas de A.S., es por eso que Inanna es catalogado por los entendidos de esta tendencia como un proyecto paralelo a Archon Satani; sin embargo, cuando este disco ve la luz, Archon ya formaría parte del recuerdo.

  Este trabajo fue grabado en las cámaras A.C.R durante varias sesiones en el otoño de 1992, en él se pueden apreciar sonidos de metales, escapes de gas, distorsiones y percusiones electrónicas muy influenciadas por la mano de Jouni Havukainen, de los ya citados In Slaugther Natives que, además, colabora estrechamente en la mezcla de este intrigante disco.

  Nueve temas conforman esta maravilla, descatalogada durante muchos años, que ahora aparece reeditada con una portada diferente a la original por Cold Spring Records. Entre ellos podemos destacar el primer corte, 'Zounds', que resulta desgarrador e impactante; incesantes percusiones golpean la nada estrepitosamente, creando una atmósfera de violencia y desesperación. Como si de niebla se tratase, la tensión creada por el primer tema se disipa para dar lugar a un contexto sinuoso e inquietante en el que predominan voces, varios tipos de campanas y unos teclados que transforman el ambiente. Por regla general, en él se concatena la agresividad con el suspense, el Apocalipsis con el misterio. El sonido se combina de forma magistral otorgando una combinación de intensidades muy sugestiva.

  Antes de que este disco viese la luz, Stavöstrand ya había realizado varias grabaciones en cassette bajo el nombre de Inanna, sin embargo, éstas nunca se publicaron de manera oficial, y siempre con una tirada muy limitada. La mayoría de ellas se realizaron durante 1982, año que coincide con la realización de este “Day ov Torment”. Tras el lanzamiento del CD, saldrá al mercado una cassette conocida como “Project.Inanna.Dead.Inanna” editada por la pequeña discográfica Cat Killer, que sólo editó unas cuantas cintas y un escaso número de singles de otras formaciones. En años posteriores Stavöstrand trabajará con sellos como Old Europa Cafe o Dark Vinyl, generando interesantes trabajos bajo el nombre de la diosa.

From Simon_A:

  Recently re - issued by Cold Spring records is this 9 track release which originally saw the light of day in 1993. The whole thing has been, remastered, repackaged coming with a basic booket with explanation to the nature of the subject of the work. The genre is recognised as Death Industrial and considering how long ago this was released the influences can be seen today, as this is very much pioneering stuff.

  Zounds builds in both atmostphere and pitch, heavy industrial style drums pound into you, with ambient soundscapes maintaining a fine aura in the background, it's an auspicious start, really establishing the sounds immediately. Next is Body ov Light, which allows the sounds to resonate and resound, very much in a film soundtrack sort of way, almost as if we are exploring, indoors or out, as it drips with atmosphere. Track 3 is Her Essence shorter but more urgent and forceful whilst Thorn drops the pace back, but with almost church like organ sounds mixing with the vast array of sounds. Moving on to Zonei, this has treated samples mixing with the militiarist urgency in the sounds whilst Ancient Flesh is a lot more accessible as the sounds bubble and simmer, integrating with a driving sample. Following on is Submission to Solitude 1-3 which features powerful rhythms, the drums tight, driving the track onwards, as the background sounds sweep back and forth, but with lots of variety in power and pace. Besides Eternity is deceptive, slow and building followed by by a sense that we're in danger as all the sounds intensify. Final track, Exhalted Inanna/Hurt ends as the whole thing started with slow powerful drums pounding into you, after allowing the track to build with clever use of samples and sounds first.

  The whole thing could almost be a film soundtrack, particularly of a sense of exploration and adventure but allied with danger and the unknown. It's mixed by J Havukainen (In Slaughter Natives) and should appeal to anyone who wants to find out more about Death Industrial/Ritual sounds. This is masterly and well worth investigating for the rich variety of sounds, particularly if you like drum driven sounds.

From Chain DLK: (by Maurizio Pustianaz)

  Inanna was the Sumerian goddess of sexual love, fertility, and warfare. She was known also as Ishtar, as Babylonians called her. Musically Inanna is the solo project of Mikael Stavöstrand which he formed after the split of Archon Satani (which was formed by him and by Tomas Pettersson, later known for Ordo Equilibrio/Ordo Rosarius Equilibrio and now kept alive by him along with Inanna). DAY OV TORMENT was the first CD album for Inanna and back then it has been released by Staalplaat in 1992. This new Cold Spring edition brings back to the attention of the lovers of industrial dark ambient an important album which then was a sort of sum of the industrial music of the 80's revised with the sounds characteristic of the early Cold Meat Industry bands. At a first listening you realize that the sound is ten years old, because that way of dealing with samplers and industrial rhythms was a factory seal of a certain kind of sound but just after the moment you know it, you forget about it because Inanna is capable of carrying you through an abyss made of lust and pain, just as the goddess of love and war represented by that name. "Her essence" remembered me an industrial version of early Coil (of the "Scatology" period) while other tracks like "Zonei" or "Ancient flesh" didn't recalled me any particular band of the past, while I can hear them as precursor of a certain kind of sound, father of a lot of nowadays bands. Sounding now percussive (where drums like thunders are joined by orchestral loops and other noises) and now dark ambient (where choirs, feedbacks and synth pads form a hellish scenario) Inanna is a sonic adventure that you'll want to experience and now thanks to Cold Spring you'll certainly do.

From Synthesis: (by Troy Southgate)

  SINCE leaving Archon Satani in May 1993, Sweden's Mikael Stavöstrand has certainly been very prolific. In fact between 1990 and the present day he has released something in the region of eight cassettes and five CDs, not to mention a whole host of compilation tracks by way of the Old Europa Café, Cold Meat Industry, Kaon, Slaughter Productions, Arborlon and Discordia labels. This latest release originally appeared on the Staalplaat label back in 1993, has been mixed by Jouni Havukainen of In Slaughter Natives and its influence on the Industrial scene fourteen years ago was nothing short of tremendous. Cold Spring released Archon Satani's "Mind of Flesh and Bones" just last year, so it‚s good to see that the recent trend to reissue some of these classics from the early-1990s is being continued. Sandwiched between a statue of Perseus, a pride of monarchical lions and several tiled chaospheres lie sixty-five minutes of aural delight. 'Zounds' is a hollow pressure-valve that awakes slowly like a dragon with a bad case of asthma. Two sets of drumbeats rattle over one another with competitive abandon, until a heavy crashing brings one of them to a sudden halt. After four minutes we hear synthetic extracts of an old war anthem, before the beats pick up where they left off. More disjointed snippets can be heard towards the end, but things are far from harmonious. 'Body ov Light' jingles and jangles like garden wind-chimes in a tornado, soon joined by a darkened humming that rumbles in the depths like an uncontrollable fart about to be delivered in the most inappropriate of places. Like the soundtrack to a 1980s horror movie, the tolling bell, choral effects and long swathes of sinister hissing work beautifully. 'Her Essence' snorts like a pig with its nose caught in the bars of an improvised sty. Various clicks and clanks are swamped by neo-Gothic keyboards and rattling tins of loose change, whilst the drowned vocals are full of electric bile and nasty intent. The whole thing is amazing and, as a relative newcomer to Inanna‚s unique sound, I must say that I‚m extremely impressed so far. 'Thorn' is a series of long sirens and watery tinkling, each combined with something not dissimilar to someone having their vocal chords sliced through with a junior hacksaw blade. The Ken Bigley impressions are eventually replaced by deep drones and a few fleeting seconds on the church organ. 'Zonei' is characterised by loud horns and military snares echoing off into the distance, reminding me a little of UB40s 'Present Arms in Dub'. At first there is an ambient and minimalist feel to this track, but more tortured vocals and looped yells later on help to keep the listeners on their toes. Despite the name, 'Ancient Flesh' is not a morality tale about the dangers of necrophilia, but a crashing volley of heavy drumbeats accompanied by wisps of pressurised steam and industrial ear-aggro. Put your speakers to the test. You know you want to. 'Submission to Solitude 1-3' starts very gradually and allows you to gather your thoughts for a moment, but more heavy beats soon arrive to chase away the atmosphere of calm. The attempt to return to all-out chaos is tempered somewhat by the softly-spoken vocals of Lotten, but this is merely a temporary respite and things soon take off again with a furious hammering of sticks against dustbin lids, shrill frequencies and dive-bombing drones that plunge themselves into the yawning abyss. 'Besides Eternity' is an erratic fumbling that oscillates like metal rings being kicked around a stone floor, an irritating child in a doctor‚s surgery that invites the maternal chastisement that is sure to follow. The synths are soothing at times and the track almost dies out completely at one point, before re-energising itself in a slightly harsher and less palatable form. The concluding track, 'Exalted Inanna/Hurt', seems rather unplanned and disorganised. But it's actually very complex, with various layers of ambience spread across a bustling litany of repressive drumbeats and slowed vocals. It's an exercise in brazen experimentation that crosses and re-crosses the fine line between Darkwave and Industrial, defying all attempts at classification. After a couple of stops and starts we are even presented with martial drumrolls, cheering crowds and a muffled choir. This is a very brave and challenging album and comes highly recommended.