Omegavortex’s 2020 full-length Black Abomination Spawn was a chaotic and dense listen that captured a similar vibe as some of the earlier and most unhinged death metal out there while also injecting some hints of black metal into the mix. It showcased a band that had some precision to their attack and a bit more nuance to their songwriting, setting a high bar for an eventual follow-up. In the years that have followed the group has only gotten faster and more rabid, with Diabolic Messiah of the New World Order coming in as a blitzkrieg that only lets up towards the very end. It’s a wild ride with plenty of sudden shifts along the way, and for those that enjoy the extremity of everything from Necrovore to Conqueror this effort will be one that doesn’t let you out of its grasp for some time to come.
Opener “Dystopian Worldrape” showcases that Omegavortex has somehow gotten twice as fast and even more violent. At just over three minutes, the guitar, bass, and drums form a whirlwind that batter the listener in multiple directions, creating a sound that’s immediately huge and only briefly gives you any chance to come up for air before it resumes the attack. This ends up being the main approach for nine out of the ten songs, with the guitar work only getting more scorching and unhinged the further you get into the album. It’s comparable to recent bands like Concrete Winds, but the sheer insanity on display also reminded me of Deiphago and even Conqueror. These whiplash inducing tracks have a good amount of blink and you’ll miss them details, especially when it comes to the way they do stop/start transitions, but the more time you spend with Diabolic Messiah of the New World Order the more it stands out beyond the sheer intensity. Closer “World Extermination Agenda” is the one instance where Omegavortex opts to slow things down ever so slightly, utilizing a slow and dread inducing build-up that eventually gives way to one final blitzkrieg. Admittedly with the writing being more direct it doesn’t have quite the same amount of individual details from track to track compared to Black Abomination Spawn but there has still been plenty here that has drawn me back and been up there with some of the best death metal of the year. The production values also work well for the material, giving off an appropriate rawness but not completely obscuring each instrument as things hit their peak speeds.
The vocals once again come through as raspy screams that stand slightly above the instrumentation, and it often sounds like R. is pushing his voice to its absolute limit. With the band getting even faster, the vocals come through as quick bursts that cram in a lot of words and downright rabid noises. Like the instrumentation, I think Deiphago is a good reference point for what’s happening on the mic alongside some of the most extreme of the South American bands, and it’s impressive that Omegavortex hits this hard without letting up. There isn’t a ton of variation to the pitch throughout the album, but it’s also not a bad thing that R. has just tried to weaponize his performance.
Some bands opt for a bit more refinement and experimentation for their sophomore full-length, but Omegavortex has taken the opposite approach and distilled things down to its more primitive level of violence. That’s not to say they’ve devolved into a completely noisy mess, as there are riffs that standout alongside some impressive transitions, but it definitely feels like an attempt to fully capture that rapid fire development period of early death metal and bring it into this current decade. Strap yourself in, and prepare for obliteration. Diabolic Messiah of the New World Order is available from Third Eye Temple.
-Review by Chris Dahlberg