Inanna – Void of Unending Depths

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Lovecraftian death metal act Inanna has finally returned after a decade of silence. The third full-length album 'Void of Unending Depths' delivers stunning musicianship from the Chilean quartet. Since its formation in 2000 Inanna has sprawled in the horrific sphere of the Chthulu mythos, with the cosmological themes that give their music a kind of complexity. The remarkable songwriting and craftsmanship position them as a top-tier band. The anticipated third album showcases their opulent and superb skills in writing catchy melodies.

Even though the Chilean act has perfected its sound, the old school influences have shaped their music. Think of Morbid Angel, The Chasm and Stargazer. The splendid lead guitars, the range of melodic, staggering drums and the cavernous growls are being refined by the skills and qualities that define the sheer technicality of the guitars. The opening track ‘Evolutionary Inversion’ unleashes the force of the guitars and the songwriting aspect embodies brutality and viciousness. Being the most striking element, the lead guitars are infectiously compelling. The fact that the music maintains the aggression and brutality of the heavy riffing shows the sheer quality of the rhythm guitars. The superabundance of melodies and the absolute perfection of the drums come like overwhelming tides of a tsunami. There are many sides to marvel at the composition.

The progressive elements are striking, but Inanna brings many variations to the seven tracks, ‘Among Subaqueous Specters’ is structured to bring the aggressive old school death metal riffs and blast beats all over the place. The focus on fast-paced tempos juxtaposing the roaring growls of Max Neira. ‘Void of Unending Depths’ establishes a creative era for the band. Guitarists Diego Ilabaca and Cristóbal González pieces together rhythm and lead guitar textures to create multilayered song structures.

Far Away in Other Spheres’ emphasizes the harmony between the progressive lead guitars. While the drums are effectively omnipresent, the slow guitar passages create an eldritch kind of atmosphere. The thick bass guitar riffs are encapsulated by the solid drumming of Carlos Fuentes, whose submerging drum beats are extremely fast. In many ways Inanna proves that they have their own sound. The monstrous growls contrast with the otherworldliness of the atmospheric riffing.

Strange Lovecraftian melodies sweep as they give a feeling of unrest. The progressive style of the guitars on the following track ‘Underdimensional’ is lush and ominously mystifying. Double bass and rhythm guitars launch supernatural riffs, intermixing with the monstrous growls and demonic snarls. The musical landscape is one of the main characteristics of Inanna. Songwriting is complex and twisted, yet confined to the spectrum of obscure death metal. Despite the fact that the band presents its cosmic style of death metal, there is a fair authenticity in the aural presentation in general.

While there is some eeriness surrounding the whole atmosphere where the guitars provide subterranean undertones, they’re totally engaging. The guitar solos are perfectly layered. The old school elements reckon the 90s era of bands like The Chasm and Septic Flesh. Songs like ‘The Key To Alpha Centauri’ bring you to the eldritch spheres of Lovecraft. With the guitars providing a perfect backdrop to the fierce full drums, the unsettling tempo becomes awash in cosmic eeriness. ‘Void of Unending Depths’ achieves a staggering instrumental level, although I’d say that the mid-tempo sections truly show the otherworldly splendor of the songwriting. The occult quality of the themes transforms the images in your mind into demonic spheres projecting cinematic visions of titanic creatures.

Mind Surgery’ is played in the traditional trademark of the Latin American style of death metal, but it maintains the signature sound of Inanna. The technical guitar riffs play as a counterpoint to the blasting drums. Always shape-shifting from the progressive style of death metal, the guitars seem to insert the right solo segment and the drums are complex.


The final track ‘Cabo de Hornos’ clocks at 13 minutes. The guitars immediately give the setting to the cosmic atmosphere and the emphasis on the lead guitars imbues a sci-fi vibe. The music feels like it’s enveloped by the sense of an unearthly wall of eerie sounds against which galloping riffs ebb and flow sporadically. The harmony of the rhythm, the monstrous growls and the bass guitars are charged by up-tempo drums. Navigating through a universal voyage, there is sheer elegance in the whirling solos.


  • Music / Songwriting 9/10
  • Vocals / Lyrics 8/10
  • Mix / Production 10/10
  • Artwork & Packaging 8/10
  • Originality 9/10

‘Void of Unending Depths’ incorporates remarkable elements from progressive and old school death metal that make a full parallel between technicality and complexity that becomes increasingly varied with its sci-fi themes.

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