/Metal Scrap Records/


1. Souls Collide 04:51
2. Filius Dei 04:50
3. Trinity 04:28
4. Spinal Cord Fusion 03:40
5. Divine of Nature 03:27
6. Replace Your Fear 06:18
7. Oblation 01:44
8. Chain Reaction 04:15
9. Denying Our Reality 05:55
10. Compulsion 05:33
11. Wraith 04:34
12. Tukdam 03:04

Total playing time: 53:08




I always get really excited when we get bands from abroad sending in material for review. It gives a perspective into scenes across the globe and it’s a fantastic world to dive into. Today we are talking about the band Omega Diatribe. A Hungarian metal band with some of the most bangin’ groove I’ve heard and I’m really excited to get this review started, so let’s go!
Talk about coming out of the gate swinging! The opening track on this record, “Souls Collide“, is a groove filled, bang your head scream along. If you have breakdowns like the ones here and a disgusting “Blegh” thrown in there right at the beginning, I’m all in. This is a banger of an opener. “Filius Dei” is littered with attitude and crazy bass grooves with a great break down right at the end of the track. The guitar tones in the title track “Trinity” are right out of a Slipknot song especially towards the end of the track. “Replace your Fear“… Welcome to Moshville! Between the breakdowns and the “Blegh”, just don’t be around me on this track. Not to mention the strong melody throughout here. This is hands down my favorite song off of ‘Trinity‘ and to me, encompasses everything Omega Diatribe is at their core.
This band knows how to write some bangin’ metal. Diversity, groove, melody breakdowns, and sub genres galore is the name of the game here. No two songs are identical and yet it all feels tied together in a natural way, it’s an experience to listen to the record front to back and I look forward to reviewing Omega Diatribe’s future material.

OMEGA DIATRIBE was founded in 2008. So far, they have released two singles and one EP, as well as self-released album “Iapetus” in 2013. Ideologically in the lyrics, the band is moving esoteric theories about relationships between terrestrials and aliens.
The music on “Trinity” is aggressive and original. It has little to do with traditional genres of brutal music like Death Metal or Thrash Metal. However, the influence of modern Hardcore is audible. Each of the instrumentalists presents a high level and plays differently. The bass is very marked, resonant and often it is like in trance. One guitarist plays rhythmically and sharply on the strings. The other one creates sounds that I would describe as spatial and mysterious. This is complemented by a very professional drummer. The screamer of the band puts a lot of heart into their singing, which is similar to that used in Hardcore. In addition, in several places were used prepared, spoken vocals, as well as sparing electronics.
The songs are dominated by aggression, but they have atmospheric insertions and moments of calm. The Track “Oblation” and the last one “Tukdam” are short and entirely moody. The music is very strong and at the same time melodious, in places with a trance. These various elements create a complete message. There are very audible enhance and rich use of the bass, which is rarely happens. The compositions are immersive and full of drama, abundant in musical qualities. They impress the listener.
Maybe it just seems to me, but I hardly know Groove Metal, but the Hungarian quintet has its own distinctive style. Among the fans of underground creativity, there is the concept of “gay metal”. And “Trinity” is not extreme black-thrash from garage, but it’s definitely not “gay metal” (I apologize LGBT organizations). I would say that Magyars create a sonic brutality for an intelligent listeners.

Pavel (

Rockcor 62018Соскучились по ярким молодым коллективам, играющим что-то между альтернативой и хэви металлом? Тогда этот венгерский коллектив из Будапешта для вас. Группа сформировалась в 2008 году, но первый релиз выпустила довольно поздно — только в 2012 году. Альбом был встречен публикой и критиками весьма тепло, да и музыканты постарались — материал был интересный, как в музыкальном, так и в текстовом плане. Далее группа успешно развивалась. И вот теперь мы имеем честь познакомиться с шестым номерным CD. Диск включает в себя двенадцать новых компо зиций. Этот альбом в каком-то роде стал экспериментальным, так как музыканты расширили свои творческие границы, используя в аранжировках разные стили, начиная от альтернативного рока и заканчивая брутальным грувом. Обложка релиза минималистична: на ней на темном фоне изображено название работы и загадочный символ, который каждый из нас может трактовать посвоему. Открывает альбом песня под названием «Souls Collide» весьма интересная вещь с интригующим началом и красивыми гитарными риффами. Вся пластинка слушается довольно легко, но в некоторых песнях с разнообразием музыкальных ходов ребята все таки переборщили. Например, это касается «Trinity» и «Replace your fear». В эти треки музыканты добавили слишком много гитарных соляков, да и вокал тут слабоват, почему-то, слушая именно эти композиции, так и хочется сказать «не верю». Увы, но не цепляет. А вот «Oblation», «Compulsion», «Wraith» приятно удивили. В них есть великолепные гитарные риффы, красочные переходы, и, конечно же, удивительный вокал в переходом на гроулинг. Альбом весьма неплох, если не считать того, что иногда в аранжировках откровенный перебор. Были у коллектива работы и получше, но и этот релиз заслуживает «четверки с плюсом».

Анастасия Игнатова (Rockcor #6/2018)

Metalcore band Omega Diatribe from Hungary have finished their third album and at first I thought we were dealing with a concept album: 'Trinity'. That name also gave me the impression that this must be a white metal band, but further investigation showed I was wrong about that.
After listening to the first couple of songs I thought I was listening to the story of someone who had been blasted to smithereens and is then reconstructed against his will, part man, part machine. A really kick-ass concept. Moving on into the album though the topics seem to shift towards the usual complaints about how harsh this world is, that you are your own biggest enemy and that you need to conquer this
There are bands out there that do things a little bit differently and breathe new life into the metalcore genre that way. Omega Diatribe is not one of those bands; they are exactly what you expect when you hear the term metalcore: thrashing, weird, awkward breaks, a little bit of djenting and a pained soul pouring out all his misery with full force. This is metalcore and within the genre this is quality. If that is what you are into you will love this album; if you would rather hear music that is a little bit different from the stuff you already know, then this might not be the one for you.

65 / 100
Bart M. (

Necromance 54No suelen llegarme muchas bandas de Hungría para revisar pero estos OMEGA DIATRIBE con su último trabajo “Trinity”, editado por Metal Scrap Records es una de ellas y lo hacen con un groove metal extremo, contundente y moderno del que hablaremos a continuación. El inicio del álbum con “Soul Collide” va directo a tu yugular, con unas voces rasgadas muy contundentes a cargo de Milán Lucsányi, además de contar con unos riffs muy poderosos y graves por Gergő Hájer y Tamás Höflinger. Pero lo que destaca es el poderoso bajo de Ákos Szathmáry con una presencia inconmensurable que les aporta estabilidad a la base y sonoridad extrema, una delicia escucharlo en este primer tema donde juegan con los silencios y breaks; de los que más me gustan del álbum. “Filius Dei” continua con una sonoridad poli rítmica, además de contar con unas estrofas hardcore en su parte central que van creciendo hasta explotar en una segunda parte muy progresiva que nos llevan hasta el trallazo “Trinity”, donde las guitarras se entrecortan con un aspecto djent y una melodía fantasmagórica recae en segundo plano. “Spinal Cort Fusion” nos golpea con ritmos de black metal y una percusión descomunal a monos de Tommy Kiss, una bomba en toda regla y otra de mis favoritas. El aire KORN está muy presente en este trabajo, sobre todo en el bajo y “Divine of Nature” o “Replace Your Fear” son claros ejemplos de ello, pero infringiendo un toque oscuro a sus composiciones, así como en este segundo corte que menciono aparece el primer estribillo melódico del álbum, dotándolo de versatilidad. Tras “Oblation” un interludio musical, aparece “Chain Reaction”, otro golpe en la mesa en la línea de las anteriores y perfecta para sus directos donde Milán, ocupa registros vocales casi rapeados que me recordaron a CLAWFINGER, pero mucho más graves. Ya nos vamos acercando al final con “Denying Our Reality” y “Compulsion”, dos temas que sigue la estela anterior donde acrecientan esa atmosfera oscura y densa que mantienen en todo el álbum, solo que a estas alturas ya lo has escuchado todo lo que tienen que dar, variando algo en “Wraith” un corte más lento y pesado que nos lleva a un cierre instrumental “Tukdam” muy onírico con toques folk, pero a la vez muy interesante. OMEGA DIATRIBE, es una buena banda de groove metal, con tintes extremos y progresivos desde Hungría, que afianzan su status con este “Trinity” su tercer álbum, que solo con un poco más de variabilidad hubiera crecido algo más. Si te gustan grupos como MESHUGGAH, GOJIRA, GODDAMN… te encantarán.

Juan Angel Martos (Necromance #54)

2018 06 10 185902Do tretice všetko dobré. Myslím, že v podaní maďarských OMEGA DIATRIBE to určite platí. Produkciu svojej tretej nahrávky zverili do rúk dánskeho zvukového teroristu Tue Madsena, ktorý vyžmýkal kapelu do posledného riff u. Skupina sa na nahrávke opiera predovšetkým o silné riff y, v ktorých zaznie odkaz velikánov ako sú MESHUGGAH, GOJIRA alebo FEARFACTORY. Desať rokov na scéne odzrkadľuje v nahrávke jasné smerovanie a hudobný pojem ako groove metal, ktorý si kapela rýchlo osvojila a ostáva mu verná v každom songu. V tom tkvie aj sila tejto nahrávky, každá skladba je zdobená silným ikonickým riff om, ktorý je hnacím motorom aj celého albumu. Kapela sa pohráva s polyrytmickými modelmi a tempami, ktoré trieda s priamymi údernými pasážami. Dvanásť skladieb metalového adrenalínu pôsobí rýchlo a návykovo. Uvidíme, ako prijme hudobný svet tento určite zaujímavý album.

FILIP GLOCKO (Rock Hard #44)

OMEGA DIATRIBE is a relatively new band hailing from Hungary, and while they are maybe one of the most exciting young bands in the metal scene, they are also one of the toughest to pin down. They are not listed on Metal Archives, the authority of genre classification, but Wikipedia pegs them as “polyrhythmic groove metal” and they refer to themselves “extreme groove metal.”
So basically? It’s the metal version of math rock with BRUTAL harsh vocals and more than enough groove and chunk to go around, which I absolutely love, and outstanding production value to top it all off. Their 2nd full length “Trinity” takes all of the aforementioned traits and pushes them to the absolute next level.
They waste no blasting your face off with opener “Soul Collide.” It has everything: groove, chunk, atmosphere, semi-breakdowns, wild harsh vocals, and bass. It’s heavy and it’s an absolute banger. The segue from that into track 2 “Filius Dei” is damn near flawless. The heaviness and intensity are still there, but the prog/math nature come out even more and the band’s musicianship is on full display. Complete with a funky middle section that is more ambient and driven by a fantastic semi-solo bass line, the song finishes off strong on a heavy climax. And the last minute djents. Straight up. It’s fucking amazing.
From there, the album just keeps pushing forward. It’s a non-stop shit show of math-metal banger after banger. The amount of genres and styles being cohesively melded together into one orgasmic sound is nothing short of incredible.
To be fair, there are a fair amount of derivative tracks in the album, especially during the middle section. Songs that are still sick if you’re jamming with the vibe of the album, but lack variety and to someone that isn’t sold on the sound, and could be a reason for criticism. Tracks 4, 5, and 6, “Spinal Cord Fusion,” “Divine Nature,” and “Replace Your Fear” all come to mind. And being right in the middle of the album, they do slow things down a bit. Especially following the intensity of track 3 and title song “Trinity,” which brings a hardcore/djent mix vibe to the table that is beyond fresh. But the album picks right back up in the back half, with track 8 “Chain Reaction” being my choice favorite, aside from the first 3.
So what’s the long story short? OMEGA DIATRIBE is one of the most exciting young metal bands out there right now. They are heavy, modern, fresh, they are trying a ton of new things, and it all sounds really fucking good. If you’re not paying attention, you’d better start right now. Don’t play yourself and miss out on this shit. DON’T PLAY YOURSELF.
Give “Trinity” a listen. Then listen again. And again. And never stop, because why would you? For my money we have an AOTY contender, maybe not one that will take the title, but a contender.

Songwriting: 9
Originality: 9
Memorability: 9
Production: 9

Jon Conant (

For the last few years, there have been bands popping up all across the world that sometimes defy classification and just play straight metal. Oftentimes, a band will make a very complex sound that makes it hard to pin down but it’s the opposite in the case of Omega Diatribe. These guys have been showing the world the modern state of metal in one of its most welcomed forms. It’s heavy, dynamic, and the band’s talent has come to a peak with their newest record.
Easily, my favorite thing about this group is how they can remain flashy without showing off and relying on their heaviness as well as their sheer talent to really do the talking. The near hour-long span that “Trinity” encompasses is nothing revolutionary when it comes to the performance of metal, but there’s no denying that the sound itself is very modern to the core yet not afraid to have its own individual sound as opposed to just becoming a part of the global cookie-cutter band population. Omega Diatribe has always excelled at having a solid diversity between songs in all of their albums while still having a strict core of metal that still allows for plenty of different approaches to different songs that really allowed “Trinity” to breathe and feel as organic as it does. Everything’s constantly shifting, and even though the flow can feel a tad clunky at times, everything about “Trinity” comes together incredibly well. Omega Diatribe are far from newcomers at this point, and this record truly shows how they’ve grown as a unit, and that single-handedly led to the creation of this record which is easily their penultimate record thus far.
Labeling a band as “modern” in the world of metal can oftentimes turn people away because many metalheads lean towards the classic-sounding material, but I implore to think differently with “Trinity”. It’s a very pleasant record that takes a lot from a lot of sources in the world of metal to make it as dynamic as it is, and adding the talent behind Omega Diatribe only further increases the flavor found in these twelve tracks.


The Pitch: Budapest based "extreme groove metal" crew Omega Diatribe release their latest record Trinity via Metal Scrap Records. FFO: Meshuggah, Living Sacrifice
What I Like: Groove, groove, groove: that's what this band is about. I had previously compared them to early Meshuggah, and while those elements are still strong (especially on tracks like the Nothing-esque "Denying Our Reality") Omega Diatribe have their own niche in the genre. These guys fit in with the progressive death metal crowd, but I think that their "extreme groove metal" moniker suits them better. Something about the atmosphere, drums and vocals also reminds me of Living Sacrifice. There is a patented 90's/early 2000's vibe to the music; a certain bleakness and less-is-more attitude. Furthermore, Trinity is a massive step forward in quality for the group. Compositions are more thoughtful and memorable, and damn do they pack a punch.The entire album is a "Try Not to Move Your Head Challenge." It'd take Jared Dines wearing a steel-reinforced neck brace to get through this one. The riffs and drums pummel you from the very opening of "Souls Collide" and don't let up until it's over. Binary palm muting, shrill guitar effects, and alarmingly infectious bass tone reign supreme in the world of Trinity, and Milán Lucsányi absolutely kills it with his nihilistic metallic hardcore meets death metal vocal delivery. Blech! F#%king brutal.
Critiques: There are a few tracks in the latter half I might have trimmed out to make things more concise, but other than that this is pretty rock solid.
The Verdict: Trinity is another album that just gets better with every listen. Omega Diatribe's funky-heavy aesthetic seeps into your veins and infects you with an unshakeable need to bob your head and tap your feet. Mad props guys. I hope I get to catch you live at some point.
Flight's Fav's: Souls Collide, Filius Dei, Spinal Cord Fusion

FlightOfIcarus (

Like a well-oiled machine, the boys from Omega Diatribe continue to churn out hit after hit in their genre like rabid dog spitting bullets, and if you are caught in the crossfire, you better brace yourself as the affects will not only change your opinion on Extreme Groove Metal, but also change your way of thinking as the subject matter is out of this world. To see these boys LIVE is a treat in itself as they almost press gang you into losing your sanity with them,
before they flick the pin onto what can only be described as a minefield of explosive energy. And once every last fan standing is literally nailed to the back wall in this brutal soundscape of mass destruction, the boys step it up one more notch, slam dunking their fans straight to the floor with a wall of sound. New Boy in the band, Milan Lucsanyi on lead vocals, dominates his spotlight as he looms above you from the footlights. His performance on this album and Live on stage is one to be reckoned with as he goads his audience straight into the palm of his hand, and like a master puppeteer, controlling their reactions in ear splitting style from center stage. When Milan was young, he listened to the biggest metal bands of the era starting with Metallica and Slayer, closely followed by Pantera, Sepultura, Soulfly, Cannibal Corpse, and Deicide. These bands not only changed Milan’s life, but set the cornerstone in his career to
In a recent Interview, I asked Milan what were his biggest influences over the years, he goes on to add;
“I love Deathcore and Metalcore music. I think the biggest musical influences for me are: All Shall perish, Parkway Drive, Despised Icon, and Whitechapel. These bands and their singers are the top of my life”.
I went on to ask what drives him as an artist, he replied;
“The love of music. I think this is the most important for all musicians. I'm crazy for the live shows. I often go to shows, but when it's us on the stage, that’s the biggest experience for me. Mighty energy and magical atmosphere. And if the chemistry works with the audience, that's wonderful”.
Founder member Gergő Hájer on lead guitar/fx, couldn’t be more proud as he is today of his achievements, as storms the stage with pride with his amazing band of brothers, taking his guitar through its paces, shredding his axe to dust in a master class of his genre Live and direct. His abilities don’t stop there, as the effects created on stage and in the studio fall to his genius also as he creates the right atmosphere, bespoke to the track.
His energy, as seen above LIVE on stage, displays the connection he has, not only with his music, but the very fabric of this band. Born in Transylvania, but later moved Hungary at 8 years old, Gergő first started to play guitar at 10 years old. He had always been a fan of music, so much so, that he soon got to work sculpting ideas on guitar and cutting his teeth to who we see and hear today.
Another new member Tamás Höflinger steps into the frame, on second guitar, wielding his axe at breakneck speed, creating some crunching riffs that shred the very atmosphere that surrounds you, keeping the air permanently punched from his avid fans. Tamas completely loses himself in every performance, keeping fans connected as he stirs the pot for something of his own making, whipping up a storm across the stage, before unleashing his might on all left standing. Together on the Frontline, Tamas and Gergő send mosh pits turning at such breakneck speed that no one dare step off before being hurled back in with crazed eyes and vacant stare.
Ákos Szathmáry on bass creates a fat solid flow throughout every track, resonating through the very fabric of all who stands before him, as he gets down to business with his wingman on drums. Tight and right on the money this rhythm section has it nailed like a runaway train letting off steam. Focused in all he does, Ákos walks his way through every bass line with ease giving a first rate performance every single time adding more fuel to the fire, neatly stoked by partner in crime Tommy.
Ákos has a more cool approach whilst treading the boards as he dominates his corner of the action. But this cool hand packs a punch in all the right places displaying an attitude and dominance of a true professional.
Tommy Kiss on drums, once in the driving seat, floors his machine like a runaway train, setting the pace with his partner in crime Ákos, taking the rhythm section to a whole other level as he powers up the engine with a mind blowing syncopated performance, leaving the crowd twitching in awe and delight. The dynamic set between these two hit the solar plexus with such force that any avid rock fan is immediately floored as together they are the driving force behind any mosh pit. Tommy’s attention to detail is first rate, and as foot flams radiate from his kit almost setting the pulse of every track, he breezes through every pattern with ease.
Now with a new Vocalist and drummer firmly set in place, the boys from Budapest, Hungary are set to let the world know that they have arrived, with an arsenal of music tainted with all the frustrations and evil that has surrounded their lives. Influenced by the 1990’s and early 2000’s American modern/groove metal scene, this band certainly have hit the nail on the head in creating this positively brutal album. Formed in 2008 by guitarist Gergő Hájer and bassist Ákos Szathmáry, the lads got straight to work brewing up a storm, ready to unleash on the world, and what has unfolded to date, I don’t think many of us were quite prepared for.
Since that time, Omega Diatribe have racked up a fair few albums, and have played alongside some influential names such as Cannibal Corpse, Ektomorf, Oceano, Make Them Suffer, The Korea, As They Burn and Vengince. These acts have certainly provided the fuel that now powers them, and this opportunity has helped sculpt the extreme power that lives and breathes inside this band.
Off stage the lads feel the need to step away from the relentless force that drives them and chill out with friends and girlfriends, and as a band, they spend allot of time together, and because of this they have forged a strong friendship with each other, an all important factor if you want to survive as a band.
In a recent interview, I asked the band what is the meaning behind the name?
Their answer was quite profound;
“There’s a secret ancient writing from an unknown alien civilization. It speaks of a contract between Humans and Aliens about the use of the planet Earth. The government calls it “Omega Diatribe”. This contract says Humans could only use the Earth in a limited time. Overtime is not allowed. When our time is over they’ll come back and take us to a higher level planet. Only the open minded people could survive the transmission, because their minds can undergo the changes of the human body” And that brings me nicely to the album in question here “Trinity”.
The entire album, recorded by Gergő Hájer at the 515 Studio in Budapest was Mixed/ Mastered by the legendary Danish producer Tue Madsen and is their third studio project to date, and debuts their new frontman Milan Lucsanyi. This master class of mayhem hits us harder than ever before displaying the tightest performance yet as the boys go from strength to strength in their genre and the industry.
To close I asked Gergő if there was anything he would like their fans to know, he went on to add;
"The band right now is stronger than ever, and we're ready to crush with our new album "Trinity", which will definitely lift Omega Diatribe to a totally new level".

Ian Davies (Core Global Media)

Hungarian extreme groove metal band, Omega Diatribe released their third studio album, Trinity. Last summer, Gergely Komáromi had left the band, so this is their first record with new vocalist Milán Lucsányi. (He is also the lead vocalist of deathcore band Sleepless.)
The band claimed that Trinity is going to be a massive and huge album and it is totally true for it. The disc consists of twelve songs in almost fifty-three minutes and the best musical experiment you can get this spring. The new vocalist does his best and the musicians show that Hungary has a noticable underground band. The studio work is extremely good, too. The album’s sound is perfect, everything is crystal clear, especially the vocals. However I can’t say any bad about the instruments, fortunately. It is very important to mention that although the music background has changed a little and thanks to that the songs became more enjoyable for non-metal listeners.
This masterpiece was released on 1 April in Hungary and going to be released around the world, thanks to the Ukranian Metal Scarp Records. (Release dates: Japan/Europe/UK – 13 April, North & South America – 20 April.)
There aren’t any disadvantages of this record. For example, the opening track Souls Collide makes you interested in the whole thing. As a Hungarian review mentioned, these tracks sound like the mixture of Slipknot with the best Cavalera Conspiracy songs. Well, I can confirm it. It is extremely hard to pick up the best song, but – for me – it would exactly be Spinal Cord Fusion (and Souls Collide.) Another memorable tracks are Filius Dei, Divine Of Nature, Chain Reaction, Dying Our Reality and the last, instrumental masterpiece: Tukdam. This beautiful creature puts the crown on the whole album, I would say.
If you want to listen to something hard but good, I can recommend this album for almost every time. In the car, on the bus, during workout or just as background music. In conclusion, this spring’s most memorable and valuable Hungarian metal album is Omega Diatribe’s Trinity, without a doubt.
Recommended for fans of: Meshuggah, Gojira, Machine Head, and Fear Factory
Best tracks: Souls Collide, Filius Dei, Divine Of Nature, Spinal Cord Fusion Chain Reaction, Dying Our Reality, Tukdam

Gábor Marton

Budapest, Hungary's Omega Diatribe is actually one of the contemporary groups that I follow the closest, so I was quite excited to score an early listen to Trinity—the band's aptly-titled 12-song, 53-minute third release. Trinity marks Omega Diatribe's debut outing with new vocalist Milán Lucsányi from Sleepless, as well as their first for Ukrainian label Metal Scrap Records, and convincingly presents more of their top-shelf Fear Factory-tinged Meshuggah vibes (with the proggy leanings of, say, Intronaut)—all delivered through their unique, modern spin on massive, hulking grooves and sinewy, psychedelic leads.
After a teasing start/stop intro, "Souls Collide" kicks down the door with spurts of a charging death metal lean; powerful, head-nodding grooves; and droning, abstracted lead textures—introducing Lucsányi as a fitting replacement for former frontman Gergely Komáromi as his comparable midrange snarls frequently veer toward either higher sneers or guttural growls (and even a few Hatebreed-esque spits) for subtly increased diversity. "Filius Dei" opens with some sick panning and more of a cutting bass presence, its tweaky time signatures laying the groundwork for a sleek rhythm section break with some jazzy flare on the cymbals, which always grabs my attention; the title track's chugging bend/release formula following suit with quirky twists in the arrangement that make the timings seem more janky than they actually are.
Early singles, "Spinal Cord Fusion" breaks off a faster-paced, gnashing edge countered by dense palm-muted sludginess; "Divine of Nature" rolling the album's aesthetics thus far into detuned "spaghetti string" territory (not a bad thing) while retaining enough dissonant melody and energy to provide the perfect balance.
The six-plus-minute "Replace Your Fear" is Trinity's longest track, creeping in with a restrained and melodic atmosphere—though no less heavy, mind you—amidst which several layers of guitars couple with crashing cymbals for added intensity before eventually diving into more caustically discordant chord phrasings and panning/delay effects (with piano) for the outro. "Oblation" acts as a brief instrumental segue containing samples of someone discussing transplanting heads from brain-dead organ donors; before "Chain Reaction" returns to the no (or at least few) frills base of the Omega Diatribe approach for the album's final stretch.
"Denying Our Reality" presents a spacious and rhythmically interesting interspersal of half-harmonic dead-string strums prior to surging forward with some slow-grinding tremolo picking and watery melodies. Acoustic guitar joins in toward the end alongside some of the record's most clear-cut solos and powerful melodic buildups—certainly one of my favorites when all is said and done!
"Compulsion" and "Wraith" then—again—hammer home that patented Omega Diatribe brand of "extreme groove metal": hard-hitting rhythms and spacey lead tones aplenty. Killer instrumental "Tukdam" brings things to a close with somber clean passages and hand drums (like tablas or something) leading into one final swell that brings in the tribal flare of thicker, denser percussion and even some chilled-out saxophone, I think!? It's pretty fuckin' awesome, and I—for one—think it could be really cool to hear the band break out these types of experiments a little more often.
Recorded in guitarist Gergő Hájer's own 515 Studio, I really dig the production. I'm guessing that a fair amount of modern and digital-centric techniques are employed, but everything sounds pretty damn great to me. Things can get a little "crispy" on rare occasion with a couple of brief volume peaks, but my ears find the whole of the mix dense and warm—ultra heavy, yet clear. It's the type of shit that really makes me feel like breaking out a guitar, and the tones have a hell of a lot to do with that!
Omega Diatribe may not be the most diverse group in the world, but they're far from one-sided, and never get boring to me. I know that these djenty/nu-metal types of sounds are stigmatized from certain perspectives, but Omega Diatribe comes across as far more "real" and respectable to me. They're not overly pristine and pretty—their work has some guts to it. They're just a badass band, man—great riffs, cool songs... and the feel of it just hooks me in, what can I say?
The only "problem" with these advance listens is that I can't let the music do the talking, so you'll just have to take my word for it based on the few tracks that are available pre-release (or their equally recommended past efforts)! Trinity hits the streets on April 1st for Hungary and Ukraine; April 13th in the U.K., Europe, and Japan; and April 20th here in the U.S. Keep an eye out! And, yes, nine months from now, Omega Diatribe will very likely make my list of year-end favorites for the second time, too...


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