There is a case for using circus/cabaret sounds in Metal. When used well, especially by an act like Pensées Nocturnes, this results in truly interesting albums, such as Nom d’une pipe or their most well-known Grand Guignol Orchestra. These works are collections of weird, disturbing, and strangely fun songs that blend mostly Black Metal with various other genres, like Jazz and Classical. That band is an example of “Cabaret Metal” done well. Tardigrade Inferno, unfortunately, is an example of this micro-genre done poorly. Off the heels of their debut album from 2019, Mastermind, these weird Russian ringmasters are back with a new cadre of circus-themed tunes. The problem, however, lies within the different styles this band decides to execute on this album.
There are moments of clarity on this album that show hints of potential. “Clockwork God”, for example, is an early highlight. Vocalist Darya Pavlovich stays somewhat restrained, which works in her favor, as this song is a pretty fun time. Keyboards that sound like circus organs are used heavily, and it works, along with the frankly great riffs present. When Tardigrade Inferno lean into riffwriting, it shows their penchant for writing groovy, fun riffs. After this song, however, is where the problems begin to rear their heads. Darya has a tendency to experiment with different styles of vocal delivery, but the changes are quite jarring. “Rats”, for example, sees her going into an almost Chipmunks-esque high pitch at times which subsequently kills my enjoyment for the rest of the song. She’s not afraid to use this high pitch across other parts of the album, either, as demonstrated on “Nailed to the Ferris Wheel” and “Tick-Tock”. The other main problem apart from the vocalist is the various circus tropes this album perpetuates. While the keyboards are a novel feature at first, it’s the main – if only – feature that defines their “Dark Cabaret Metal” sound. Truly Avant-garde music makes an attempt to sound different, rather than repeat tired circus/cabaret-esque tropes ad nauseam. By the end of the album, it leaves me more annoyed and frustrated than when I started. There really is potential for greatness or at the very least decency with Tardigrade Inferno, but poor choices end up tanking what is at times a fun release. If they decide to make more of an attempt at being an Avant-garde act on their next album, I might find more reasons to come back to it. As of now, however, I cannot in good conscience recommend this album. Rather than burning the circus, the fire was quickly snuffed out.
