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4.49 | 16 ratings | 3 reviews
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Album · 2009

Filed under Progressive Metal


1. Sansara (8:12)
2. Tusan Homichi Tuvota (9:03)
3. Sunken Bell (2:29)
4. ... And Who's the God Now?! (10:25)
5. Indukted (6:51)
6. Aemaet (8:25)
7. Nemesis Voices (6:19)
8. Ninth Wave (11:32)

Total Time: 63:16


- Ewa Jabłońska / violin
- Maciej Jaokiewicz / guitar
- Piotr Kocimski / guitar
- Andrzej Kaczyński / bass
- Wawrzyniec Dramowicz / drums

Guest singers:
- Nils Frykdahl (Sleepytime Gorilla Museum)
- Maciej Taff (Rootwater, Black River)
- Michael Luginbuehl (Prisma)

Guest musicians:
- Marta Maslanka / dulcimer
- Robert Majewski / trumpet

About this release

InsideOut Records
August 2009
For we know all the toils that in wide Troy
the Argives and Trojans endured through the will of the gods,
and we know all things that come to pass upon the fruitful earth.

Cover art by Justyn Parfianowicz.

Thanks to bartosso for the updates


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Specialists/collaborators reviews

Well i must admit i didn't expect INDUKTI's followup to "SUSAR" to be it's equal let alone to like it even better. Man this is a beast though as they have become meaner and heavier on this their sophomore recording. On "SUSAR" we had RIVERSIDE's Mariusz Duda doing the vocals, here we get three guest vocalists helping out including Nils from SLEEPYTIME GORILLA MUSEUM on the second track "Tusan Homichi Tuvota". This is such a cool tune, especially the lyrics as we are told the story of this hawk who has been killing the chickens and rabbits. This mouse is prepared to take him on though. Great track ! The opener "Sansara" is a heavy instrumental. "Sunken Bell" is a short atmospheric piece with percussion. "And Who's God Now ?!..." has guest vocals from Maciej Taff who also wrote this song. Love his screaming. All hell breaks loose at the start of "Indukted" and while it does settle back it does stay heavy. "Aemaet" opens with distorted guitar and slicing violin as the drums and heaviness kick in. Intense ! What a great instrumental ! "Nemesis Voices" is the other track with vocals. Michael Luginbuehl is the singer and composer here. Another heavy assault for the senses. "Ninth Wave" is the longest track at 11 1/2 minutes and my favourite, which is saying something considering how amazing the music has been up until this final song. It's pastoral at first with the sound of waves and seagulls then the trumpet comes in and i must say it sounds brilliant throughout this song. The heaviness kicks in hard before 4 minutes. So good ! It does settle back and the violin joins in. How good is this 8 minutes in !? Kicking ass people. Waves and seagulls end it. What a ride ! Nothing less than 5 stars will do.
I have quite a few albums in my catalogue but even so, Indukti manages to sound very much unlike anything else I've heard. They are a progressive, experimental, mental heavy metal band. So don't expect overdressed goofs making the horn sign as their main way of communication here. This band is in it for the music!

A first obvious reference would be the instrumental side of King Crimson (albums Red, The Power to Believe): there's lots of chromatic guitar progressions with even some frippertronic guitar soundscapes as on Aemaet. The band has also a violin player in their ranks which makes the KC reference even stronger. But everything is made a lot heavier and louder by throwing in thrash metal staccato riffing, double-kicks drums, heavy distortions and loud mastering.

Most of the album is instrumental. Only 3 tracks contain vocals. Awesome vocals in my book, each of the guest singers is on the gruff and gothic side of things, often reminding me of Carl McCoy (Fields Of The Nephelim).

Indukti are sometimes qualified as post-metal but they don't apply much of the repetitious improvisational attitude from that genre. All songs are very much composed and progress through different themes and moods. I'd go for progressive metal with touches of industrial and avant-garde. Great album!

Jaw Dropping Prog Goth Metal Feast

When I first ordered Indukti's SUSAR, I was astounded. The sounds were so unique and fresh, dark and ethereal, it completely blew me away. My first impression was 5+ stars, but luckily I didn't write my review the first night I bought the album. Over time, it became clear that the band's gradual twisting and turning of their riffs lacked a little in terms of songwriting. I still like the album quite a bit, but it hasn't held up to multiple listens.

Idmen equalled, if not eclipsed, SUSAR's overwhelming first impression. I listened to the album 3-4 times the first night I bought and felt like I was listening to music composed by one of the Nazgul. Goth ethos is always about dark fantasy, and in this case it feels like we're hearing the soundtrack for the Dark Lord's entrance into Armageddon. The most obvious changes are that the music is more brutal and heavier than SUSAR, which is no small feat. Mariusz Dzuda's ethereal vocals are replaced by three vocalists, the softest of which sounds like a very good Maynard James Keenan clone. The first two sound like demons, combining many different vocal tonalities including the most music appropriate harsh vocals I have ever heard. The first comes courtesy of Sleepytime Gorilla Museum's mastermind N. Frykdahl, who tells a story of a hero mouse's quest as if he were a psychotic witch doctor about to march to his own death.

The more subtle difference between Idmen and SUSAR is the improvement in songwriting. There is better use of contrast and movement to maintain interest on this album, more ideas packed into each song. Still, some of the instrumentals (especially Indukted and Aemaet) are begging for vocals. And despite the fact that this band packs complex times and syncopation at will, it happens so seamlessly that even the straightest metal fans will still thinks rocks hard. This is inarguably very prog, but could be put on at a (very metal or goth) party and still keep the energy going. In fact, the music sounds like the soundtrack to a dark universe, Matrix or Sin City or something of the sort.

The first four songs are sensational, some of the best goth metal or prog metal I've heard in awhile. The fourth "And Who's the God now?" is the best, a dark tribal piece with so much going on that you feel like you're be pulled under lava. The next two, as mentioned, might be improved with vocals but are still quite good, complex, multiple sounds, brutal. The seventh "Nemesis Voices" is a very good song in the Tool / Perfect Circle mode, excellent but derivative. The final long instrumental is a mood piece that progresses from soft acoustic guitars and a distant trumpet (a la Queensryche's "Promised Land") but progresses to fully on fury with meticulously executed blast beats and a monstrous guitar tone where the bass and guitars merge into one collossal juggernaut of sound. Finally, the music receded again to gentle waves and we are left exhausted but happy.

The band has evolved for the better, communicating more with their music while retaining their love of complexity. I miss the harp, and the violin sits further back in the mix than on SUSAR. After repeated listens, the songs hold up much better, though I still search for a lead point of interest in places as I mentioned.

This is a must have for fans of goth metal. This is so far ahead of Tiamat, Anathema, Paradise Lost, though all those bands have their place. This is a must for lovers of Tool, post-metal, and experimental metal, though the band really doesn't sit in any of those categories well. If Ulver combined their sounds of metal and electronic ambience into a prog monster, that might be the closest comparison.

Though not without a few flaws, this is an excellent 4-5 star piece of progressive metal.

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