Vampire Rodents was a sound collage and experimental music ensemble based out of Phoenix, Arizona, although its core members originally came from Canada.

Premonition (1992), recorded with violinist and cellist Andrea Akastia, revealed the band's artistic ambitious and interest in electroacoustic and ambient music.

Considered by some to be the group's magnum opus, Lullaby Land (1993) further expanded the sound with the inclusion of additional musicians, house beats, swing rhythms and world music.

In 1993 Akastia and Wulf ceased to make direct contributions to Vampire Rodents and it became Vahnke's solo project, although he continued to utilize music his former bandmates had recorded previous to their departure.

Vampire Rodents embraced an electro-industrial sound informed by orchestral music on Clockseed (1995) with the help of producer Chase and the contributions of numerous musicians already established in the 90s industrial rock scene.

The final album, Gravity's Rim (1996), returned to the more aggressive and sardonic nature of past work while emphasizing dense string and horn arrangements backed by drum machine rhythms.

In 2016, Vahnke established an official YouTube page titled Rodentia Productions and began issuing unreleased material with the suggestion that it would be made available for purchase.

[1] They named the project Vampire Rodents after an animal skull with two large incisors that Vahnke discovered on an Anthropological dig in Arizona.

It also marked the first time Vampire Rodents collaborated with guest musicians, utilizing the singing talents of Dan Grotta of Babyland; Jared Hendrickson of Chemlab; and Pall Jenkins of Three Mile Pilot.

called it their best work, saying "these folks can turn collage into counterpoint the way only masters of the avant-garde have done; Zappa comes to mind for those old enough to remember the delirious metamorphoses on Absolutely Free."

He began moving away from the dissonant industrial sound that characterized his earlier work to focus on composing lush arrangements comprising clarinets, bassoons, trumpets, trombones, flutes, oboes and saxophones.

In 1996, Gravity's Rim was released and marked a return to the more aggressive and sardonic nature of past work while emphasizing dense string and horn arrangements backed by drum machine rhythms.

Returning collaborators included Maria Azevedo, Dave Creadeau, Mark Edwards, Jared Hendrickson and Boom chr Paige.

The album also predominantly featured Spahn Ranch and future Black Tape for a Blue Girl vocalist Athan Maroulis, who contributed to four tracks.

An abridged version of Noises in the Wall as well as "Smartass", the intended final track of Gravity's Rim, have been made available to the public for the first time since they were recorded.

The ten part suite "Zombie Dolls", the frantic industrial collage of "Good Humour", the eight-minute composition "Cyborghostsex", the electroacoustic "Itume" and Vahnke's interpretation of Schubert's "Piano Trio No.

[5] Songs like "Dumme Weisse Menschen", which translates to "stupid white people", critique of Western culture while "Tatoo" is critical of hollow vogues.

For example, Jared Hendrickson's "Low Orbit" is about two of his deceased friends appearing to him in his sleep and "Revisioned" by Sounds of Mass Production concerns systemic oppression at the hands of the government and establishment.

Not intended for replication in a live setting, Vahnke constructed sample-based pieces on linear time graphs in a manner similar to Conlon Nancarrow's player-piano roll compositions.

In the years between the release of Gravity's Rim and his retirement from music, Vahnke composed for several composition projects with the intention of collaborating with artists he had worked with previously.

[23][4] An album titled Axon Tremolo, collecting music that was originally recorded for Alchemia, made its debut on Vahnke's official Bandcamp.