Omnizide – Death Metal Holocaust


     The title tells you all you need to know about Death Metal Holocaust, the debut album from Swedish metallers Omnizide. The ten track onslaught is a corrosive and exhausting scourge of intensity and accomplished craft, a release holding an equally potent blackened breath to its death metal heart and though maybe it does not ignite the imagination and passions as dramatically as some, it is impossible not to be drawn into its impressive tempest and enthuse unreservedly about its insidious toxicity.

     The beginnings of Omnizide start in 1995 with the formation of black metal band Belzen by vocalist Mikael Nox and guitarist Anders. Without any releases to mark them, the band split a few years later with Nox joining Craft and Anders starting up Avsky. The band’s re-emergence began from when Nox provided some guest vocals on Avsky’s album Scorn Anders, the founding pair deciding to bring Belzen back to life but under the name of Omnizide. Drummer Gaddur (Kafziel) was then recruited and the band released the Pleasure from Death EP in 2011 to extremely strong receptions. Expanding to a quartet with the addition of guitarist Jesper, the band recorded their first album last year, and stretched their personal soon after with bassist B-Force (Dark Funeral) completing the current line-up.  Released via Carnal Records on February 7th, the resulting Joakim (Craft) mastered record is a pestilential examination of the senses leaving a thick expanse of satisfaction in its corruptive wake.

     A stark wasteland of sonically sculpted ambience within a haunted atmosphere makes the initial contact, its few seconds unnamedmenacing before the full weight and toxicity of Rotting Flesh Parade rampages through the ears. Intensive riffs and matching rhythmic destruction is soon rabidly accosting and seducing the imagination, a lingering groove igniting the appetite whilst the rasping malevolent vocals of Nox contaminate and expel the imposing lyrical narrative onto the welcoming psyche. It is a compelling if uncomfortable engagement which, much like the album, increases its potency and temptation over numerous excursions of its merciless vitriol.

The excellent start is continued and accentuated by firstly No Remorse, a track with lethally addictive grooves and antagonistic rhythms consuming the senses from the first second, and the following intimidatingly weighted Monolith. The first of the two merges an all-out rapacious attack with a slower intensity drenched prowl of the emotions before returning with even greater spite to the original hungry onslaught. It is a masterful concoction of suffering and persuasion honed into a thrilling sonic violence and though not quite matched by the second of the pair is reaped of its most venomous essences for an unbridled predation within a whirling sonic maelstrom.

     The predatory heart of the previous song is brought to stronger riveting life through The Eternally Damned, its stalking gait and winding sonic bait as contagious and viral as any airborne pestilence. It is a captivating intimidation with vocals and rhythms a bleeding causticity within an invigorating and inciting melodically bred enticement provided by the guitars creative acidity. As with many of the songs, there is a repetitious suasion at work across the infection posing as a song, an unrelenting bewitchment rhythmically and sonically that drives the track whilst allowing flames of malicious enterprise to flail the senses.

    The likes of the uncompromising and the viciously ravenous Crystals of Death and the savagely envenomed Damnatio Ad Bestias keep the imagination and passions fired up whilst others tracks such as Dead Planet and Nuclear Strike leave a very healthy hunger in the belly for the album, though they do not quite reach the same heights. Some of that is from a less adventurous urge to their intent compared to other songs but also for the only slight negative of the album, their use of the same or closely similar riff, hooks, and raging grooves as found on previous songs. It is not a major flaw but does defuse their impact even after numerous plays.

    Completed by two bonus tracks, Pleasure from Death and Desecration Art, the two songs which made up the Pleasure from Death EP, Death Metal Holocaust is a rigorously pleasing and aggressively satisfying provocation, one not creating a major ripple within death metal but an album providing a stirring and vigorously potent additive to its ranks.


RingMaster 06/04/2014

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