And succeed initially confident: The opener "Septuagint" begins with a neoclassical Part, touches sometimes the legacy of DISSECTION and is otherwise constructed so stringently that the song about the whole seven minutes of playing time retains its power, even if superficially at each corner lurks a new reef. "Vortex Omnivium" impresses with its basic theme and the pumping bass until the musicians mount up a playful midsection. And of course, may comprehensible harmonies nor missing as speedy guitar solos. "Ocean Gateway" derogate from it a little and awakens by its creeping Groove memories of MORBID ANGEL, to a choppy, but funnier middle part shrugs limelight.
The following pieces of it will become more difficult: Where to start as a non-music student? And not a little the catchiness is in the rest of the songs fell by the wayside? Well, there are of course no single answer, but it is worth, to work out the album Piece by piece: Starting with the accessible "Celestial Spheres" on "A Transcendental Serenade", which ascends a "Alison Hell" -Gedächtnisriff just to completely let go as a result: When the piece so much going on, that can not really tell that it's an instrumental. The final "Aevum" again starts with these chic DISSECTION harmonies, then take drive and davonzupreschen zigzagging. Back Me friend and foe, slightly dizzy.
Stay "Euclidean Elements", "Prismal Dawn" and the multi-layered "Velocity", which perhaps once the virtuosity is in the foreground. Fascinating progressive jazz are attributes that come spontaneously in harmony to mind, stunning as counterpart in the extended solos. And you have to get used to the fact that a piece like "Prismal Dawn" in spite of the gentle intro does not continue in usual verse-chorus-verse-tracks.
In this respect, "Omnivium" offers enough material, layers and details, in order to study in depth for a long time. This is also the pleasant Woodshed production, which is at the same time warm, clean and rich in detail and all instruments instils an unleashing. Especially in the percussion section it sounds very natural, which fits perfectly with the game controlled by Hannes Grossmann. "Omnivium" seamless continuation of his predecessor and leads its line in nine new, grandiose, sometimes intricate pieces continued. That's not always easy, but always succeeded.
