Album Review: Tardigrade Inferno – Hush (Self Released)

Dark cabaret metal outfit Tardigrade Inferno are set to release their third album, Hush, on March 5th.

Dark cabaret metal outfit Tardigrade Inferno are set to release their third studio album, Hush, on March 5. Known for blending theatrical visuals with ironic lyricism and a strong live presence, the band have steadily refined their identity across their releases and performances. In June 2025, they issued the live album Made In Hell, capturing the intensity of their shows and their connection with audiences, and Hush follows that release as a studio record that draws together those established elements with a more focused production approach. The album continues on from 2023’s Burn the Circus, positioning itself as the next chapter in the band’s ongoing narrative and aesthetic direction.

Tardigrade Inferno have always paid special attention to the visual side of their art — from stage costumes and characters to their album covers. The cover for Hush was created by artist Milena Kress in a dark-aesthetic style. This is the band’s first experience with analogue painting, an oil-on-canvas piece that conveys the anxiety and emotional intensity mirrored in the album’s lyrics. It is also the first time the band’s mascot, the Tardigrade, is absent from the cover, symbolizing a coming-of-age, with the toys left behind in the nursery.

Tardigrade Inferno is Darya Rorria on vocals, Alexander Pavlovich on guitars and keys, Maxim Belekhov on bass, and Andrew Drew on drums.

Being a little unaware of Tardigrade Inferno and the lore around their concept, I went into this slightly concerned that I might not quite get it. I was excited to dive in though, especially as, for those in the UK scene, there are clear parallels to the wonderful Ward XVI in style, genre and theatrics.

While it remains true that I don’t always fully understand how each story links, both on Hush and to previous releases, I don’t think my enjoyment is dampened too much.

Starting with The Final Show, and its combination of chimes, keys, circus music, and burning sound effects, it’s theatrical and exciting. The introduction of the guitars and drums works brilliantly, combining with the bouncy melodies, while the vocals are great – melodic but menacing, with time for growls too. I’m bedded in quite quickly as the story continues into Hide ‘n’ Seek, where, after some initial chanting, it drops into a superbly bouncy riff that is sure to engage those neck muscles. The vocals impress again, moving through different disturbing tones and styles, backed by heavy riffs, punchy bass and drum rhythm, and plenty of backing effects and keys. It’s engaging and easy to get into, with an immeasurable level of creativity and variety on offer. I love the solo, and the simplistic, chanted chorus will work a treat live with the crowd singing it back.

Deadly Fairytales drops some kids’ toy chimes and noises into its intro, along with what sounds like, but probably isn’t, a kazoo. Then come the riffs and the beats, and you’ll find yourself headbanging along happily to the catchy music. The vocals again impress with the variation in tone, moving from menacing whispers to clean melodies and everything in between. The story also comes across clearly, helped in part by the clarity of the vocals, but also through the use of effects and less traditional instrumentation. It’s very catchy and kind of makes you want to dance as much as bang your head.

All In Your Head brings fairground music coupled with chanting kids, giving off traditional horror vibes. The bouncy fairground melody, paired with bass lines and a slow, thumping drum beat, works great. The chorus is simple and singalong, and again, the vocal ability shines. The horror vibe gets pushed harder in sections where harsh vocals come in to combine with the leads. It’s packed full of cool ideas and keeps Hush flowing nicely into Dead Fish Smile, a song that drops the bouncy nature for something more melancholy, combining gentle melody with softened vocals as it builds. The chorus brings more emphasis, with the drums crashing and keys dropping a twinkling melody. It feels emotional and powerful, equally hypnotic and a little disturbing. The solo is great, the flow works really nicely, as does the key change approaching the end, and it’s a clever change of pace for the album.

Subatomic Heist is a shorter track with a massive orchestral intro that initially gives off interlude vibes, before the guitars and drums crash in to join the orchestra for a raucous, energetic track that feels primed to set mosh pits off. I.C.D. keeps the chaos raining down with a wild intro full of energy and intensity, before dropping into a bouncy riff and beat combined with circus music. The vocals are very horror in style in the verses, with the backing keys adding that old-school horror vibe as well. It’s a very imaginative track with a lot of different things happening. At times it gets a little busy, but with so much going on you’re always quickly onto the next section. You can’t help but be impressed by the vocals, but also by the vibe and creativity of Tardigrade Inferno here, and across Hush as a whole.

Hush continues with Goor, dropping prominent synth over impressive drum rolls to pull you straight into the vibe. As the guitars and bass join in, you’ll find yourself bopping along, happily lost in the atmosphere created. The verses drop down into soft singing and gentle melodies, though such is the band’s style that it feels threatening rather than soothing. Goor also comes packed with an absolute cracker of a chorus, while that returning synth line keeps you fully bedded into this nightmarish world, giving off Tim Burton vibes.

Nearing the end, we get to the title track, Hush, and this is a banger. It bounces, hooks you in, and gets you moving with the rhythms and riffs. The vocals impress throughout the verses, bringing a more subdued style while the music still energises. Those vocals then build towards a wicked little chorus in a song that sticks to a more standard structure, packing in energy, plenty of little effects and additions, and keeping the concept strong.

As we reach the end, Hypnograph serves as a short intro track, with piano and organ melody leading us into the closer, I Am Eternal. It’s fair to say Tardigrade Inferno have already made a strong impression by this point, but you still want them to sign off in style, especially with a concept album where closure matters.

Thankfully, they tick those boxes with ease, delivering a six-and-a-half-minute track that passes in seconds. The creep factor ramps up from the soft, scared vocals to the keys and effects in the background, while there’s still a solid foundation of impressive drums, bass lines, and riffs driving it forward. The vocal power moves between styles with ease, and kudos to the absolutely banging solo – you can throw in all sorts of sounds and instruments, but nothing beats a good solo. As a song, it’s hypnotic, with new details constantly popping out without ever feeling overwhelming. A very strong closing track on a very strong album.

Overall, Hush is really imaginative and conjures up strong imagery throughout, packed with insane creativity and obvious talent. Moreover, the vocals are amazing across the album and play a huge part in selling the theatrical, horror-leaning atmosphere, and as a result, this is absolutely a band I’d love to see live after hearing this. Although it can occasionally feel busy, and while I still don’t fully get the lore or how everything links together, that doesn’t take away from the enjoyment you will get here at all.

Tracklist:

1. The Final Show
2. Hide ‘n’ Seek
3. Deadly Fairytales
4. All In your Head
5. Dead Fish Smile
6. Subatomic Heist
7. I.C.D.
8. Goor
9. Hush
10. Hypograph
11. I Am Eternal

Tardigrade Inferno Links

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