By Francisco Zamudio
With about 15 years of existence behind them, it’s tough to call Origin one of the new breed of modern American death metal bands. You can, however, state them as a great example when it comes to describing the evolution of extreme and technical death metal. While other groups with just as many releases tone it down and call it “maturity”, Origin returns with just as much, if not more aggression and has evolved into a hyper-space demon. Their sixth full-length Omnipresent, released on July 4th in Europe via Agonia Records and on July 8th in North America via Nuclear Blast Records, is a display of
an extremely dynamic hybrid death metal that blends the styles of technical, brutal, slam and grindcore, and is about capturing the current time and space where Origin has nailed down their style as well as their line-up.
The combination of sickdrummer extraordinaire John Longstreth, master bassist Mike Flores and death shredder Paul Ryan has consistently grown in their sound and
songwriting. Marking his vocal debut on record and wasting no time with the opening track “All Things Dead”, is Jason Keyser. He has put in two years working live with the band, breaking necks and fingers. You get thrown into this song with such a climactic feeling, you quickly forget it’s merely the introduction to the album. Songs like “THRALL:FULCRUM:APEX” has the immediate punch-you-in-the-face grind toppled by intense slam, and “Source of Icon O” and “Redistribution of Filth” serve as great reminders that grindcore is a big part of their sound on this record and that they’re not just another death metal band. The song “Manifest Desolate” is the trademark sound of Origin while simultaneously displaying a new, more progressed entity, adding some trippy groove. The track “The Absurdity of What I Am” has that (dare I say) traditional brutal death metal feel. Longstreth’s lead with triplets and rolls lay the foundation and he really possesses this song with his crazy double-bass control.
You may feel winded listening to this killer record by the Topeka, Kansas monster (I mean, there should be a warning sign on this one!), but the instrumental songs serve as breathers throughout the album and are brilliant introductions to the next track. Ryan’s finger work interlude in “Continuum” provides a trip into space madness before releasing you into “Unattainable Zero”. The longest track on the album displays the progression in songwriting and musical ability with such intensity driven by Origin. Especially at about the 4-minute mark where they exploit the groove and “break-down” for what can only be described as SICK and heavy!
Consider the track “Obsolescence”, the last of three instrumental interludes, as the beginning of the end to this warped-driven album. If your face doesn’t feel like it’s getting scorched off as if you’re pummeling towards earth to the track “The Indiscriminate”, you must not be human. The closing moments provides the most ripping sensation like you’re frying on LSD. Insane shredding and lunatic–like blast beats drive this meteor home with a solid close.
The distinct and defined clarity in the sound of all the instruments and vocals on this record is done very well and can be accredited to Origin’s return to long-time producer Robert Rebeck at Chapman Recording Studios(Lenexa, Kansas-US), and the help with mix and mastering done by Colin Marston at Menegroth, The Thousand Caves (Queens,
NY-US). The artwork for Omnipresent was done by Colin Marks of Rain Song Design who also did Origin’s prior work for ‘Entity’. The artwork runs with the lyrical theme to the record which Jason Keyser describes as “…the total insignificance and helplessness of humanity to the impending doom of the universe that surrounds us at all times.” As an added treat, Origin does a cover of the 1985 track “Kill Yourself”, by hardcore thrash crossover group Stormtroopers of Death.
Only halfway through the year and “Best of 2014” lists are filling up fast, Origin have done it again, grinding their way onto that list with Omnipresent. Showing their version of maturity and intense songwriting, this current combination of Longstreth, Ryan, Flores and now Keyser is vicious and has proven that the death metal underground is alive and well in 2014.
Rating: 9/10
Related: Summer Slaughter Los Angeles gig review
Record Label:
Nuclear Blast (North America)
Agonia (Europe)
Release Dates:
July 4th 2014 (Europe)
July 8th 2014 (North America)
Track Listing:
1. All Things Dead
2. THRALL:FULCRUM:APEX
3. Permanence
4. Manifest Desolate
5. Absurdity of What I Am
6. Source of Icon O
7. Continuum
8. Unattainable Zero
9. Redistribution of Filth
10. Obsolescence
11. Malthusian Collapse
12. The Indiscriminate
13. Kill Yourself (S.O.D. cover)
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