Southern Italy indietronic trio Inude showcases Cent’anni, a blend of ethereal synth arpeggios, pulsing electronic beats, and deeply melancholic, heartfelt vocals. Place next to Royce Wood Junior. Read our discussion below!
Describe your sound in 3 words.
Melancholic, cinematic, emotional.
The phrase Cent’anni traditionally signifies a wish for long life. Given the song’s theme of time shattering and things wearing away, what is the irony or deeper, more complex meaning you are conveying by choosing Cent’anni as the title?
“Cent’anni” is an ironic blessing — the weight of time rather than its gift. In our song, time doesn’t heal; it corrodes. It stretches endlessly, turning into a quiet punishment where love becomes prayer and silence becomes confession. It’s about the moment when time stops flowing and starts pressing down, when things don’t end suddenly, but slowly consume themselves.
You mentioned using English for “distance” and Italian for “rawness.” Could you give an example of how a specific lyric or phrase in one language evokes its corresponding emotional state that the other could not?
English allows us to step back — to describe emotions from afar, like observing a storm through glass. Italian, instead, breaks the glass. It exposes the wound.
When we sing “I’ll be down on my knees for centuries,” it’s a kind of resignation — distant, suspended. But when we say “Sono cent’anni a pena,” it becomes flesh, guilt, weight. The language itself carries the emotion; it shapes how the feeling breathes.
Cent’anni marks the “first chapter of a new cycle.” What are the defining characteristics of this new journey that differentiate it from your previous work?
This new cycle is about subtraction — about space and silence. We wanted to strip the sound down to its bones, to let every frequency breathe. The electronics are still there, but they’ve grown more human, more fragile.
We’re rediscovering the physicality of sound — the imperfections, the cracks, the breath behind every word. It’s not just a new chapter; it’s a return to our essence.
How did you three meet?
We met through music — small towns, shared rehearsals, late nights, and endless conversations about sound. Over time, Inude became less a band and more a shared language. We’ve grown together, not only as musicians but as people learning to listen to silence, to each other, and to time itself.
Can you share each other’s funny habits?
There’s always someone who gets lost in details — we can spend hours adjusting one sound that probably only we can hear. Someone else forgets where they left their coffee while looping the same four bars. And during rehearsals, there’s an unspoken ritual: we all end up dancing a little, even when the song is heartbreakingly sad. It’s our way of keeping light inside the darkness.
Artists and people that have influenced you?
We’re deeply inspired by artists who balance intimacy and grandeur — Apparat, Bon Iver, M83, and Son Lux. Each of them creates emotional worlds where electronic textures and human vulnerability coexist. That tension is where we feel most at home.
In which place or state of mind do you imagine people might listen to your music?
Somewhere quiet, perhaps at night. Maybe in a car, after a long day, or through headphones in the dark. Our music belongs to that suspended moment when you stop pretending to be strong — when you let yourself feel, without naming it.
If the music of Inude was a film, which film would that be?
Probably something between Her by Spike Jonze and The Tree of Life by Terrence Malick — intimate yet cosmic, full of silence and light. A film where time folds in on itself, and everything fragile becomes beautiful for a moment.
Thank you!
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