Epica – Omega
Release Date: 26th February 2021
Label: Nuclear Blast Records
Buy/Listen
Genre: Symphonic Metal, Gothic Metal.
FFO: Nightwish, Lacuna Coil.
Review By: The Demented Raven
For a Band who have reunited after 5 years, Epica knew that they had to release an album that would really deliver. An album that would grab the listeners attention instantly & of course, blow all their fanbase away with such production & metal. They have done this with Omega!
Alpha – Anteludium opens this album with an orchestrated instrumental piece of grand proportions, signalling that this album is the return that Epica fans have anticipated for some time! And it truly delivers. Starting off mellow until the 15th second hits and then you’re instantly transported to a land of orchestral proportions. Feeling like you’ve just listened to the ultimate score from your favourite movie. You know that you’re in for one Hell of a ride.
This well-crafted orchestrated piece then merges to the second track Abyss of Time – Countdown to Singularity. Putting the Epic in Epica, fans will be familiar with their signature Symphonic Metal sound. From such an introduction to the album which leaves a well lasting impression (from fans & nonfans alike), this track does not fall flat. The clean & unclean vocals (growls) compliment well with each other & the backing vocals in the chorus give it that punch.
The Second half of the song begins without warning; it takes a complete 180 in sound. From glorious vocals to heavy guitars & sinister riffs in seconds, accompanied by spoken vocals which then cleverly transitions back to the original song. They nailed the content of the song and the atmosphere matches what is performed vocally.
The Skeleton Key also has a darker vibe. A lot spookier in comparison compared to the previous track & it isn’t afraid to go all out and unleash its inner darkness. Which is perfect for an album which shares themes of not only friendship but also personal struggles & Mental Health. Coen really has his chance to shine in this track as the piano is the centrepiece of this track & Simone being a powerhouse, is belting out the choruses with suchenergy (with a hint of melancholy compared to the previous song) whilst Mark contributes the unclean vocals during the “darker” sections. It’s arranged perfectly & does not feel out of place in the slightest.
After the darker nature of the previous song, Seal of Soloman grants a new twist and shows the diversity of what this band can achieve, proving that they aren’t just a one trick pony with bells and whistles! As you can imagine by the songs title, the introduction of this song has an Arabian sound/influence. The influences and diversity don’t only show with the instruments but also in Simone’s vocals. Mark takes the helm with the verses in this one which complement the song well. The heaviness of the verses and vocals are reminiscent of the German Metal band “Caliban” (Their Vocalist Andreas Dörner & Lead Guitarist/Composer Marc Görtz in particular) but with Arabian influences that aren’t out of place. This track was one of the standout pieces of the album for certain.
The musical journey is far from over, as we then continue with Gaia a much more energetic piece in comparison to the rest of the tracks. The entire band all display how much of a team they are with all the instruments and vocals in harmony, and of course, the strings and choirs being included naturally and not just included for the sake of it.
Then we have been transported again to more diverse sounds in the song Code of Light. With an introduction including more Arabian influences, it proves the fact that this album journey is no joke. In my opinion, this track isn’t quite as glorious as Seal of Soloman. It feels like they have just used the remainder of the energy of that track and put it in this, but it does contain a powerful choral chorus with Simone displaying plenty of emotion in her vocals. They still have some left-over journey from their previous “trip” but this track doesn’t stick as well as the previous. The conclusion is another continuation of heaviness and I feel that this is where Ariën gets to show off his skills. Sadly, this is where the album’s high reaches its end, as the rest of the album doesn’t compare to what we have heard so far (with the exclusion of Kingdom of Heaven: Pt.3 with its ambitious take).
With Freedom – The Wolves Within, the lost energy has returned. The choirs themselves kick off this track and their high energy and vocals remain throughout. The chorus is unfortunately one of their weakest so far with nothing really standing out, and the lyrics being the opposite of a saving grace. The verses pack much more a of a punch in comparison.
Kingdom of Heaven: Pt.3 – The Antediluvian Universe continues the next part of the albums journey. Making you visualise an Arctic scene surrounded by a warm campfire. This whopping 13 minute track is as you’d expect it to be. It goes completely ham with the orchestra and the choir. Even once the band kick in with the drums, guitar and bass. The strings continue to take the lead until Simone returns in a grand fashion with her vocals and the bands unity once again shines. This track is a truly ambitious piece for such a length and the pacing works as it should. The next section of the song. I’m truly amazed with Simone’s vocals on this track. As it’s a long number, the song dramatically changes with a piano section. A solo by Coen which really changes and sets the upcoming tone whilst being accompanied with the choir and the band. Like Coen has a chance to shine. Then the rest of the group also get to show their skills in turn, which once again shows their unity and equality as a band. For a song this ambitious, I’d have expected it to be the last track, but everything flows nicely regardless. Then the song takes a darker & heavier turn which displays the intensity that the song is portraying. And we get our first synth solo from Coen! Then after the rush of that track, we’re given a very mellow and melancholic sound of “Rivers” with a piano riff that is reminiscent of a pop song. I struggle to take this song seriously as the chorus’ structure reminds me of “Impossible”. However, this is the perfect song to have after getting all your senses attacked at once with the previous track. Whilst Simone’s vocals & Coen’s piano playing sync perfectly and the eventual moody guitars, drums and bass. The song isn’t a sticker for me but could see this one being a marvellous yet emotional live number. It’s a nice change of pace.
After the sadness of the previous track, the band is back to what they do best. Symphonic Metal full of life, gothic vibes and the whole band performing as a unit which include all the bells and whistles such as the choir & orchestra! Synergize – Manic Manifest shares this energy, but at this point on the album, the excitement has gone. None of the tracks stand out and feel a little predictable. Like you’ve heard it all. Like I said before, the album’s high note has diminished, and we’ve been left with the final tracks that remain predictable & bland.
So overall, it is an album worth listening to, whether you’re Symphonic Metal fans or not! It really opens up your mind with music and transports you to a journey. However, the second half of the album doesn’t stand out anywhere near as much as the first. The first half had diversity, which you’d expect from Epica, but with so many twists and turns for you to adjust with. The second half paled in comparison, as it struggled to keep my interest and I felt the changes between songs (during the second half of the album) fell under the safe formula and wasn’t enough for me to enjoy the album in full.
(4 / 5)
