For the first time since 1999's Dark Hallucinations album, the band is in "storytelling mode" again. Omniscient is a concept album of cosmic proportions – a journey through time and space and along Earth's history, with a strong focus on humanity and life itself. In the booklet, you'll get the whole story as told by the protagonist. The lyrics of the songs are part of that story, each song emphasizing on a particular moment in the story. When I planned this in-depth review, I intended to tell you about the whole story and reveal what the lyrics are about. However, I quickly decided not to do that. I won't spoil any story content here as you should really experience it yourselves. Don't worry, there's still lots to talk about and reveal. So let's dive deep into the new material. I promise you it will be one hell of a ride.
Next up is When I Remake the World which features a groovy shredding guitar riff. Rick's vocals are somewhat distorted which adds a mystical aspect to the atmosphere. Even though the riff mainly stays the same, the drumming's really varied and there are some exciting changes of rhythm. The memorable melodic chorus will be stuck in your head for a long time after listening to the album. To every metal fan's delight, the first guitar solo in this song is one complex celebration that might even be compared to Blind Guardian's best moments. Rick's powerful trademark vocals sound a bit different in style, compared to the first song, and there's plenty of variety to them. Some almost narrative singing here, some emotional vocal harmonies there, some soaring high notes plus a triumphant laughter to top it all off before the second guitar solo will leave the listeners with shivers of joy down their spines.
Steel Prophet fans never cease to rave about one of the key trademarks of the band: the galloping riffs featuring rhythm guitar and drums – as heard in songs like 1997's Trapped in the Trip and Hate² or 2000's The Ides of March. No Steel Prophet album would be complete without them and so the next song 9/11 opens with exactly those "gallop riffs". Rick starts off in a somewhat deliberately semi-monotonous vein and medium speed, then progresses more and more angrily and agressively (think Scarred For Life) – and just when it seems he has reached his boiling point, the chorus kicks in in a surprisingly slow and haunting way. If one was to compare the chorus to something that already exists in metal, the haunting chants of the band Solitude Aeturnus might be an appropriate comparison. The second half of the song continues with the previous aggression while Rick adds a lot more variety. High-pitched screams go hand in hand with mean grunts — it's a sheer pleasure and even reminds a bit of the band's classic The Revenant. This time, it's not the chorus which kicks in after that. Instead, we get a glorious long guitar solo playing the refrain's melody and bringing back an atmosphere that's reminiscent of the album Dark Hallucinations. It's joined by the rhythm guitar in perfect collaboration. One last time, Rick summarizes the whole thing and the song slowly fades out with the guitar's familiar vibe.
No time to take a breather yet, people, as Chariots of the Gods picks up right where 9/11 left off. The riffing and drumming seems even heavier and the lead guitar accompanies the rhythm section perfectly. This is one of many tracks of the album in which you can easily notice the complex layering of instrumentation – and while at first this might seem a bit much, you'll discover new details with every new spin of the album. Once more, Rick vociferates – but with more of a lamentation than before. And once again, just before you think he couldn't escalate anymore, just before the heavy shredding is about to become overbearing, something surprising kicks in about halfway through the song: a mid-tempo chorus with relaxing drumming, embellished with some bell rattle. It relieves all the tension, all the anger, all the emotions and feels like slowly and fully breathing in and out after a lot of pressure – done masterfully through the music! What follows is a glorious high-tuned guitar solo playing to the aforementioned relaxing percussion. The song ends by going full throttle once more. Again: even though this song might seem a bit much at first, it quickly becomes an absolute favourite.
And now we reach the centerpiece of Omniscient. 666 is Everywhere (The Heavy Metal Blues) starts off with an atmospheric 1½-minute intro that's instantly recognizable as "typically Steel Prophet", combining the sound of early albums with that of the slower moments of Dark Hallucinations or the instrumental pieces of Book of the Dead – and then blasting off into a metal anthem like no other! The main riff seems to scream "bang your head! Heavy Metal is back"! This is where Rick's vocals absolutely shine as the main attraction, beautifully accompanying the riff with a blues-like diversity and everything he's got in his repertoire. The long virtuosic solo in the middle of the song plays to a drum sequence that makes you want to jump up and down in a huge crowd of metal fans. I bet this will work perfectly live – as will the chorus! Already at first listen, you'll picture hundreds of metal fans shouting "666! 666! 666! 666!". And then the song brings back something that hasn't been featured in a Steel Prophet song for many many years: a very calm melodic passage with spoken words like in Reign of Christ from the first album or the opening section of Ghosts Once Past from Messiah. This is followed by one last, and very powerful, shouting of the chorus, before...
... we're carried right into the beautiful remake of the fun outro Oleander from Book of the Dead. This new version called Oleander Deux is carried by a cool guitar rhythm and features Rick having fun singing adlibs to the song. An absolute treat for any fan who enjoyed their Book of the Dead album – it brings back memories while celebrating the return of Steel Prophet at the same time. After a bit over a minute, Rick's very mellow and beautiful vocals lead us to Aliens, Spaceships and Richard M. Nixon (X Files fans, listen up, this is the stuff of your dreams). The song is based on another one of those perfect "gallop riffs" and the lead guitar adds a melodic ground layer to them, which reminds a bit of the mystical atmosphere of the band's great song Mysteries of Iniquity. If you haven't already celebrated that Steel Prophet are finally back, this is where you'll definitely go crazy. During the verses, Rick sings in a very narrative style and continues very rhythmically while the drumming progresses. The chorus follows with deep and haunting vocals and in a mystical slowness. Altogether, the song is so catchy that you'll keep coming back to it all the time. Another instant favourite from the new album and yet another top candidate for a single release.
Time to relax for a bit – as Through Time and Space opens with a semi-ballad-type intro which is very reminiscent of the beginning of New Life from Dark Hallucinations. Long-time Steel Prophet fans know all about the fact that the band dropped its most complex song structures over the years in favor of a more streamlined style that's more suited for live audiences. This song however shows that they still got their talent for complex compositions big time! The complete structure is absolutely brilliant and perfectly accompanied by Rick's extremely passionate and ever-changing vocals: at first, there's the verse marching slowly and placidly, then a short high-speed section, and thirdly, a bridge with stomping mid-tempo drumming embellished by the high-tuned guitar playing in short intervals – probably my most favourite moment of the whole album for now. The following chorus is another really melodic chant accompanied by the blasting double bass. As yet another surprise, the song ends in a very quiet tone, embellished by gentle piano strokes. The very familiar exclamation "He's dead, Jim." marks the transition to the next song.
Funeral for Art goes back to the basic and streamlined melodic metal style while still changing between stomping mid-tempo riffing and uptempo rhythms. The song is interspersed with some narrative pieces, sometimes angry, sometimes sad, and surprising breaks. The chorus is another catchy singalong tune you won't want to miss ever again.
The Call of Katahdin is a short and quiet instrumental intermission reminding a bit of Ruby Dreams (Faith and Hope). It serves as a nice break before the last regular song on the album is unleashed. The following Transformation Staircase is a dark, dramatic finale with shredding guitars, Rick's angry vocals, sometimes close to grunting, sometimes blustering into high-pitched screams. The chorus is another one of those Solitude Aeturnus-style haunting chants, accompanied by a thundering double bass. The song's final guitar solo brings back the awesome Dark Hallucinations vibe (think Betrayal or Look What You've Done this time).
This concludes the regular tracks of Omniscient.
The album also features two bonus tracks, the first of which being a cover version of Queen's all-time classic Bohemian Rhapsody. Steel Prophet do have a great reputation for making awesome cover versions – just remember Fates Warning's The Apparition, Helloween's Ride the Sky or Iron Maiden's Purgatory – and if you have experienced Steel Prophet celebrating Bohemian Rhapsody on the Keep It True XVI festival in early 2013, you'll know exactly what you're going to get: an epic metal variant with some hilarious tongue-in-cheek moments. It's fun and satisfying as hell. The second bonus track is called George Orwell (is Rolling in his Grave) and was written by vocalist Rick Mythiasin. It's something quite different to the rest of the album with the vocals having a somewhat high-speed narration style. All in all it's a perfect exclamation point to the whole album.
And then... the story's over.
You're probably left with an open mouth and a sore neck from all the headbanging.
What a bomb!
Everybody knows that the term "masterpiece" is overused as hell and still regularly and carelessly spouted out by record companies as well as reviewers all the time. With Steel Prophet's new album Omniscient the term truly fits for once. Up until now, songs like Through Time and Space and Funeral for Art, bursting with variety and surprises, could only be found on the early Steel Prophet releases. It's simply amazing how the band managed to resurrect this style and put it in context with their later works, combining all the styles, adding new ideas and thus transforming the whole thing into something new and exciting. Though it might seem a bit much after listening to the whole album for the first time, as it's layer upon layer of carefully intertwined instrumental compositions, the combination of variety and the groovy heaviness will have you hooked in no time.
It will be released in early 2014. Additionally, all the previous albums will be re-released as vinyl editions. Good times to be a Steel Prophet fan, I tell you. :)