Vampire Rodents ‎– Premonition

V.R. Productions ‎– VR4
CD, Album, Limited Edition


1 Babelchop 4:36
2 Babyface 2:36
3 Monkeypump 1:48
4 Recoil 3:58
5 Ovulation 2:45
6 Subspecies 2:27
7 Burial At Sea 4:24
8 Vulvasaurus 1:16
9 Annexation 3:37
10 Tenochtitlan 1:38
11 Dresden 4:49
12 Sitio 4:00
13 Deicide 3:50
14 Infection 2:34
15 Rodentia Ostinati I & III 2:04
16 Dante's Shroud 2:17
17 Waterhead 3:39
18 Demon Est Deus Inversus 2:16
19 Book Of Job 4:35
20 Apparition 2:37
21 Colonies 8:23

Companies, etc.



Limited to 2000 copies.

(C)(P) 1992 V.R. Productions.

Barcode and Other Identifiers

  • Matrix / Runout (mirrored): MADE IN THE USA BY METATEC/DISCOVERY SYSTEMS A8ER0200A



Add Review



June 4, 2012
This is in no way an easy album to describe for a humble reviewer - every time you think 'Aha! That's Where They Are Coming From..." they go and change direction again. This is a fairly long album, jam-packed full of tracks (21 in all) and need every one to give you the whole picture of the VAMPIRE RODENTS.
"Babelchop" opens play - a fairly straightforward medium-paced dance thing, thick with grisly FX, clearly bearing Funk in it's ancestry (in much the same way as we might claim squat furry bipeds in our own). It has a degree of SKINNY PUPPY circa "Assimilate" in it, while keeping it's own identity quite clearly. "Babyface" is a sort of paedophiliac anthem based on the old AL JOLSEN number - cleverly done with a clear degree of evil within it's initially innocent lyrics (although closing with 'My Love Overflowed / When I Shot My Load / In Your Pretty Baby Face' changes all that). It's a crazed, broken-yet-completely-controlled track, again bringing the PUPPY approach towards composition into mind. "Monkeypump" is another Funk-like thing, an instrumental with sax samples, Lathe sounds and all manner of background stuff going on. It reminds me of CLICK CLICK meet CREAMING JESUS. "Recoil" opens with a groundswell of violin-like-sound before falling into a thin & complicated thing, bringing to mind THE RESIDENTS, FRONT LINE ASSEMBLY and even PIL in some ways. It changes direction several times, although it keeps on a basic course - a medium-fast paced track. It even has cartoon voices / sounds, as does the next track "Ovulation" which opens with BUGS BUNNY singing in the bath, and takes it from there, stealing other cartoon voices & blending them with other found voices to create a strangely twisted atmosphere - harmless as a child's cartoon, yet infiltrated with other madness. The track itself is simplistic but effective in conjunction with the 'found sounds'. "Subspecies" is another more complex piece of music - a big sound using atmospheric samples and snatches of film again (including "War Of The Worlds"). The music - changing, twisting/twisted, tempo-changing, nevertheless incidental somehow to the samples which assail the senses - a good blend of both 'found' & deliberate sound. "Burial At Sea" appeared in "The Cyberflesh Conspiracy" album reviewed a couple of supplements ago - a distinctive 'song' - a more composed, controlled piece of slow & dark music, the vocalist sounding actually akin to leather-winged vermin on the attack. "Vulvasaurus" returns to their more 'experimental' sound - a complex thing which keeps a fast tempo when it's not changing into a non-beat roll of samples. "Annexation" is a more delicate, slower, more reflective piece based around a sort of simplistic "Exorcist" theme. This eventually opens into a grand piece of medium-paced music, perhaps too filigree to dance to. It's a colourful oasis in a wasteland of crazy, mind-spinning music. "Tenochtitlan" is the first of two pieces with thick, almost ethnic drum patterns over chilling horror-movie music - cleverly put together presumably from other pieces of music, proving how creative people can be with samplers. "Dresden" borrows a similar drum bludgeon to begin with, before opening out into a much larger, atmospheric track with lyrics in German. With this sort of stuff they could be creating movie soundtracks! "Sitio" is another moody piece, rising from the silence of the Universe in a dark and dragging rhythm with voice which sounds as if it's fighting to free itself from the primordial ooze ... and losing, to the world's gain. "Deicide" is another complex thing, opening with a medium-paced, simplistic drum beat & bass/synth structure, then suddenly flying off at a Thrash Punk tangent, regrouping, mutating in many forms, regaining it's former shape, each incarnation stuffed full of interesting samples. "Infection" is another simply complex track - a myriad sounds over an ever twisting drum rhythm. Again this brings SKINNY PUPPY to mind, although VAMPIRE RODENTS are clearly capable of a subtlety & humour often absent in what I've heard by SP. "Rodentia Ostinati I & II" is another visit to the mental processes of a madman, a dangerous journey through a gamut of images - the more innocent ones infected by the darker, more deadly ones. "Dante's Shroud" brings MECHTILD VON LEUSCH to mind - a thick, clawing drum sound like pebbles on a beach minus the sussurration holds this warped piece together. Its probably one of their more effective tracks - creating a disquieting atmosphere any sane person would want to break free from. "Waterhead" is another bizarre piece - the drum pattern, incidental really, simplistic, acting as a reference point for the endless amount of samples which join in this medium-paced slow-dance - real time violins adding something special to the music. "Demon Est Deus Inversus" is a huge, dramatic thing, somehow akin to DEATH IN JUNE - a huge procession sound / a film soundtrack blending in scattered waves / incidental music from a "Twilight Zone" free-for-all. "Book Of Job" follows suit, except this track drifts in calm waves of sound, blending the sound of someone drowning with chain-like loops of sound. "Apparition" opens on a guitar pattern which sounds almost Folksy, which is joined by delicate cello & synth sounds, creating a piece of music like slightly diseased New Age. The epic "Colonies" closes the album, comprising the last 8'20" of the total 75'00". It opens, breathing like some Guardian, sleeping but vigilant, outside the dread lair of some beast, deep within the Earth. The atmosphere, calming, beautific, slowly drifting in hazy colours is completely the opposite of the earlier tracks. A graceful, almost ambient soundtrack, proving once again where the future might lie for the VAMPIRE RODENTS.

A long review? Yes, but then again a long album, deserving of as close an analysis as I could give it, and yet I still don't come close to what they sound like. The line up is ANTON RATHAUSEN on vocals / guitar / bass / samples & VICTOR WULF on keyboards. These are joined by ANDREA AKASTIA on cello / violin; JING LADSHU on percussion & DANIEL VAHNKE taking care of orchestration / keyboards & management. Contact them for more details and other people's attempts at description.

Originally reviewed for Soft Watch.