From the opening moments of ‘The Alpha’ you will find yourself in the cosmic chaos of inharmonious melodies from loud piano chords, straightforward blast beats and menacing screams punctuated by the furious up-tempo. Although the songwriting does not tackle the traditional style of black metal, jarring guitar riffs and drums are propelled into the extreme sonic onslaught. One of the prominent instruments in the band’s elegant character is the use of the gentle piano. As a result, the seven new tracks are unhinged. The keyboards and the cold, voluminous piano chords come in a cosmic storm. All these sonic features inject terrestrial energy to contrast between the brutal riffing and the powerful percussive outbursts.
‘The Anticurrent’ sees the duo taking their sound to new levels of intensity and the new endeavor is best described as a diluted form of modern blackened death metal. The sophomore features several guest musicians like Adrienne Cowan and Lindsay Schoolcraft who appear in two tracks on the album. Omega Infinity offers a lot of elements that deliver nuances of industrial metal. Tentakel P.’s drumming is flawless. However, his role in providing energetic motions to the music combines exhilarating and boisterous drum beats. ‘Iron Age’ begins at a slower pace compared to the previous song. Once Xenoyr’s screams bellow out you’ll hear the horrifying stream of the distorted melodies rising high like the tides. The slower moments always allow the music to shine and there is a beautiful chorus midway through the song that features Adrienne Cowan.
Although this is not what I truly expected from the band in their newest sequence, in my opinion, the sophomore is more experimental and the songs are more chaotic and complex. The high-pitched screams are extremely raucous, allowing the music to hit the climax. On a song like ‘Banish Us From Eden’ the menacing piano notes and the blast beats kick in with some brutal guitar sections, showing the exotic motif of the duo. Although the mixing is balanced, the instruments stand out. There are some parts where the blasting drums juxtapose with the piano. The pace kicks in with the following track ‘To the Stars’ and you get some fragments of spacey techno music with the guitars upping the tempo.
Giving you the feeling of an exhilarating space orchestra, the atmosphere on this track feels celestial and twisted. The post-metal riffs are intensely energetic and heavy and flow between sections of blasting drums. While ‘Death Rays’ has the same sonic elements as the previous one, it is highlighted by the guest appearance of Lindsay Schoolcraft. One can easily say that this is one of the album’s most memorable songs: it has a great, industrial, cosmic effect from start to finish and Lindsay Schoolcraft’s vocals are wonderful.
The guitars then reanimate the pace, once more injecting powerful riffs and charged drumming beats to create a wall of sound. Omega Infinity makes use of the dynamics between the atmospheric sections to keep certain songs like ‘Voices From The End Time’ engaging. This longest cut in the album features András Nagy and offers an unrelenting display of avant-garde and post-black metal elements. It’s hard to say if the drums are programmed or not, because the music is complex and has a touch of technicality. Nevertheless, the band displays some atmospheric elements and the production is clear as crystal. With a total of seven songs that have unfolded over the duration of 49 minutes, the remaining two songs are cover songs: ‘Night Journey’ from the Hungarian black metal band Sear Bliss and “Ye Entracemperium” by Emperor, which are seemingly some of the best performances of the band.
- Music / Songwriting 7/10
- Vocals / Lyrics 6/10
- Mix / Production 9/10
- Artwork & Packaging 8/10
- Originality 7/10
The sophomore release from the International duo Omega Infinity achieves aspiring musical grounds, but somehow I prefer the band’s debut album. If you are into industrial metal with atmospheric then give this album a try.
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