It was still a cannibal and schizophrenic art, that continuously devoured itself and that continuously changed personality. It was another symphony of chaos and multitude, that, indirectly, harked back to composers of urban cacophony such as Charles Ives and Edgar Varese (and composers of cartoon soundtracks such as Carl Stalling). Clockseed (1995) added more instruments of the orchestra and more drum-machines, and offered a more linear, rational and focused take on the same idea.

Vampire Rodents' 'lullaby land' was set in a Freudian nightmare and that nightmare played at double speed in a very chaotic theater. The whole recalled the grotesque and unpredictable merry-go-rounds of Frank Zappa's early works and the Residents' early suites. It was entertaining, and it was terrifying. The songs were gags, and each gag was an assembly of cells. Rhythm permeated this work at least on two levels: a disco/funk/house beat that propelled the track and the pace at which snippets were glued together to form 'songs'. Their savage art of montage reached a demented peak with Lullaby Land (1993). On the other hand, they retained the feeling of jazz and avantgarde chamber music. On one hand, the combo created a music in which sound effects, not instruments, became the element of composition. Premonition (1992), featuring Andrea Akastia on violin and cello, transposed that program to another dimension, making music out of a frantic collage of sources. War Music (1990) merely set the existential tone of their opus by juxtaposing recitals of horror stories against industrial music performed by Neanderthal men on stone instruments. The Vampire Rodents, a project of Toronto guitarist/vocalist Anton Rathausen (real name Daniel Vahnke) and keyboardist Victor Wulf, were possibly the greatest composers of collage-music of the decade. ( Copyright © 1999-2023 Piero Scaruffi | Terms of use)Įther Bunny: Attention Please (2017), 6/10 Vampire Rodents: biography, discography, reviews, best albums, ratings

Cinematica formula de tempo