Inanna’s ‘Transfigured in a thousand delusions’, the 2012 follow up to their 2008 debut: “Converging ages” further emphasised the band’s projection towards the more progressive and cosmic style of Death metal. Whilst Inanna may be immediately likened to bands such as The Chasm, Blood Incantation and even an array of other underground bands such as StarGazer and VoidCeremony, I believe that Inanna has successfully crafted their own distinct and recognisable style through being an equitable blend between cosmic and progressive Death metal, and through overtly sticking to this style throughout their three releases.
The monstrous, extremely unhuman-sounding vocal performance all throughout ‘Transfigured in a Thousand Delusions’, emphasises the band’s intention to create the sense of a non-human entity describing cosmic, earth-shattering or fantastical events which acts as the lacing for the thematization of this album. The vocal performance on this album, as well as the unconventional song-writing themes which drift between that of cataclysmic, philosophical and fantastical theming emphasises Inanna’s true underground nature. Inanna’s progressive-cosmic style is accentuated by the layering of the bass throughout this album; being just as audible as the guitars throughout, Max Neira’s complex bass solos feed into the intentional hypnosis of this album.
Overall, I feel this album would possess obvious appeal to fans of the likes of The Chasm, Blood Incantation, Nocturnus and any Death metal entity that has a particularly progressive and/or unconventional song-writing style, however I don’t think its appeal should be limited to that niche. I think Inanna’s additional devotion towards the uncompromisingly murky sound of Death metal should impress any accomplished fan of OSDM. It may also be an album to provide Death metallers with something new, exciting and different to the more straightforward classics they may have on repeat.