Wormed "Omegon" Album Review

If a band has the word "Worm" in its name, it's bound to be slamming. That's certainly the case now. Last year's Wormhole record, Almost Human, became a year-end favorite for many people. I must admit, I enjoyed the record too, despite the vocal style being my worst nightmare. If you've listened to Almost Human and are preparing yourself for Omegon, expect the expected.

I don’t usually get into slam. While Omegon isn’t just a slam album, that aggressive musical style dominates when defining the genre. Omegon is clearly a punishing record, so don't be surprised by its dominance. Although I may not be the right person to review this record, I feel compelled because of the strong progressive elements it contains. It’s utterly unbelievable how this record grasps your attention from the first notes. Automaton Virtulague is a perfect example of how this record will progress and how it will end: non-stop blast beats with the nicest snare sound possible, creative riffs, unstoppable chaos, and vocal deliveries that sound like an ancient being staring at you from the depths of a famous black hole. Pareidolia Robotica continues in a similar vein. While the tunes are similar and the executions aren't unique or creative, the impressive instrumental performances shine throughout. It’s impossible not to admire the musicianship here. The fact that they can play this live is magnificent.

However, despite the impressive performances and creative choices, listening to this beast front-to-back is exhausting. Almost Human by Wormhole was 28 minutes and didn’t feel as crowded and chaotic. I know this is intentional, but after a while, it feels like you’re listening to the same thing repeatedly. Omegon demands your undivided attention to fully experience it, which is hard to provide given its complexity and occasional bizarreness. The lyrical themes reflect the sounds you’re hearing, making you feel trapped in the vast emptiness of a cosmic tale. My number one complaint about this album and the genre as a whole is that you can’t understand a word. Not even one. When I said that the vocal deliveries sound like an ancient being from the depths of a black hole, I meant it. Phlegeton’s impressive yet not-for-everyone vocal style is highly remarkable, but it's a bit much for me personally. While the other members control this well-structured and highly refined chaos well, as a full album, it’s not easy to digest.

Of course, not being accessible isn’t a criterion to label the record as a bad output. Omegon is a collection of brilliant performances, unconventional compositions, and adrenaline-pumping moments at their finest. However, I still believe the album should be shorter. Even if it’s a perfect example of modern slam death, it’s overwhelming. It might be frustrating to compare Omegon with Almost Human repeatedly, but it doesn’t change the fact that we must compare these two impeccable beasts to understand one another. These two records are prime examples of today’s slam death metal. While their styles are similar, their approaches and executions differ. Wormed’s approach is more straightforward slamming death metal, whereas Wormhole’s Almost Human uses the uneasy feelings of dissonant melodies. This made Almost Human a prime slam example and a great showcase of the band’s disso-death talents. The rest is personal taste and choices.

Omegon is a hard record to digest and review. Its prowess is undeniable, and it’s a perfect example of how a chaotic record like this can feel complete, making you feel like you’re witnessing total worldwide destruction. Even if I think Almost Human is superior in songwriting, creativity, and effect on non-casual slam listeners like me, Omegon is a powerful beast that demands your full attention. Feel free to add a +1 to the score if you’re a sucker for the genre.

Highlights:

• Automaton Virtulague

• Pareidolia Robotica

• Virtual Teratogenesis

• Aetheric Transdimensionalization

Rating: 7.5 / 10

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