Released in 2002, this was a years-in-the making CD. Many of these tunes were recorded several times with a varying cast of musicians, until we got the combination just right.
Conceived as the music for a modern dance piece, with a number of melodic threads reappearing at various parts, this is another one of those albums where we through everything we could do out there - chamber music type pieces, musique concrete, hooky rock tunes, some soundtrack-y bits, and so on.
All of the lyrics are in Spanish, and expertly delivered by the incredible Robin Graf. Charles Lloyd comes into the fold, and brings his incredible guitar virtuosity to the proceedings, a perfect foil for Rick Barber's multi-instrumental amazingness. Moe Staiano brings his unmistakable polyrhythmic clattering. Oh my goodness!

"'Bakuretsu Fukio' consists of 17 short tracks, each under four minutes and was recorded from 1997-2002. The pieces flow into one another and have that great Zappa-like kaleidoscopic ever-changing flow of genres and ideas. No matter how short these pieces are, they just keep changing and are filled with loads of surprising twists and turns. Someone named Robin Graf sings in Spanish (?) on a few of these pieces, but just in short snippets. On "Mai" there are layers of odd munchkin-like vocals, electric guitars, assorted percussion and other sounds too hard to describe. Each piece here has a sub-title referring to the number and gender of the dancers involved. Ron Anderson's blistering el. guitar is featured for a short bit on "Sid Hearted Goat Hammer", yet the piece soon turns into in odd modern chamber-like work. There are too many strange and wonderful surprises here to adequately describe since things change so rapidly, but I have to admit that I was enchanted from the beginning to the end of this ridiculously cool smorgasbord of sonic delights."

-BLG, Downtown Music Gallery

"Well folks, this one takes the cake for being the unusually-strange-beyond-comprehension disc of issue 28, at least in this writer's review pile. That's not to say it's not enjoyable - it most certainly is! I guess it's the unusual juxtaposition of seemingly incongruent elements that makes this what it seems to be. If one is to believe the liner notes, this is a three-act dance production; there seems to be some kind of Japanese concept going on throughout the artwork and in the booklet (and the title), and most of the lyrics - in Spanish - are sung in Japanese style. The 17 tracks cover a lot of ground, from chamber to heavy rock to jazzy inserts to twisted ethno-vignettes of indeterminate origin, all combined in a big musical blender...
Instrumentation is... well, just about anything and everything, but bass, multi-woodwinds, guitars, vibraphone, and the aforementioned percussives seem to be present on just about every track. If one likes tightly composed and played, adventurous, uncategorizable and challenging music, then this latest release by VTH should satisfy the appetite."
-Peter Thelen, Exposé

"On the releases on Megaphone there was a definite and pervasive Zappa influence, on this it's still there but far less pervasive. There's just a lot more things in the mix which in some ways was disappointing, but in others somewhat encouraging. the initial disappointment was simply in really being in the mood to hear what I thought I'd be hearing, but ultimately it was pretty short lived. What I hear now is that as good as VTH, and its evil genius leader Jason Berry, are at the whole Zappa meets Residents thing its not all that they're about. The San Francisco Bay area is about as cosmopolitan as you can get in the US and it is fitting that VTH have gathered the influence of much of that area's music as they have. If nothing else, this release proves that they are far from a one trick pony."

-rateyourmusic.com