This unpronounceable ensemble offers its second album, a dark slab of instrumental chamber-noise walls. Consisting of six performers, instrumentation includes dual guitars with generous overdubbing, non-drum-kit percussion, bass guitar, sax, cello, piano, vibes, violin, melodica, mbira, keyboards, and recorder. Notably, all of these components combine into a monolithic assault.
Heavily-distorted guitar lines, focusing on thick chords and atmospheric speed-picking, form the base of Inferotemporal. Bass and sax freely improvise over the top of the six-stringed attack. The other instruments make periodic appearances and accentuations. Softly-growled death-metal vocals rear their ugly head from time to time. There is a near-complete lack of melody in the usual sense, which results in an ever-shifting landscape and never a dull moment. Perhaps the only exception to the general rule of the album is the fourth track, Music for the Move Nine, which is a chamber music drone.
Vmthanaachth has achieved a high-water mark in unclassifiable music – a harsh offering that combines influences from across the musical spectrum – metal, jazz, classical, ambient, noise – and results in an oddly listenable amalgam of brooding sound structures and landscapes.