Disharmonic Orchestra is one of those bands that leave you speechless after listening to just one song. Right from the get-go you simply hear the difference – it's death metal, but not played in the way you would expect it to sound. Innovative ideas and groundbreaking patterns – all of this reinvents the sole definition of death metal, introducing music that reaches far beyond its boundaries.

The group's second LP from 1992 entitled "Not To Be Undimensional Conscious" is perhaps one of the finest releases in the history of avant-garde metal… Everything on this album, from the peculiar cover and booklet design to the music itself, ventured as far from traditional death metal approach as possible.

The LP was produced by Tomas Skogsberg, who previously worked with such bands as Entombed, Grave and Therion. The highlight of this release is definitely the rhythmic section – Messner's drumming is extremely complex and varied, yet fits the music perfectly, while Zamernik plays his bass guitar with remarkable intensity and charisma, not to mention incredible skill. The guitars deliver a mix of death/grind riffs with a melancholic avant-garde touch, reaching way beyond extreme music. In fact, the only "traditional" death metal track on the LP is "The Return of the Living Beat", which is a re-recorded version of "Putrid Stench" from the split with Pungent Stench, enriched with a funky breakdown and a rap section in the middle. Disharmonic Orchestra was never afraid to experiment and "Not To Be Undimensional Conscious" proves it in 100%. Such additions as samples of a ringing telephone or other hard to distinguish noises add up to form a truly disturbing combination. Perhaps one of the most breathtaking tracks on the album is "Timeframe" – mostly instrumental, it introduces an acoustic guitar and piano accompaniment in the middle section, only to evolve into a metal passage, ending with a drifting melody. All this was backed by surreal lyrics, concentrating on such themes as emotions, love, dreams and philosophy… No wonder the reviewers often referred to this music as 'extreme art rock'.