Omnivortex is back in the technical death metal game with their new EP, "Throne Of Absolute Chaos." A personal vacation took up this New Music Friday, so this is the one lucky record to get (somewhat) immediate coverage, and for a rather dorky reason -- I'm quite the finnaboo. I wrote for a Finnish metal magazine, puhun vähän suomea, and I obsess over the fact that they hold the record for the highest density of metal bands per capita. I can't remember the last time a metallibändi failed to impress me, so I'm excitedly mounting the "Throne Of Absolute Chaos." 

It's safe to say the streak of impressive Finnish records continues with "Throne Of Absolute Chaos." I've always hoisted technical death metal up on my personal pedestal of metal subgenres, even more so when it's blended with prog. Over the past couple days, I've tapped into my techprog mind, mainly by purchasing a rather uncommon eighth vinyl pressing of Archspire's legendary "Relentless Mutation." A much-needed re-listen later, and I'm fired up for some satisfyingly complicated death metal. Omnivortex concisely kindled my fire, and probably strengthened it. This EP shares a theme with "Relentless Mutation," that being hard science fiction lyrics. Severi Saarioja handled the record's writing, exploring non-Euclidean forms, hydrocosmic afterbirths, and Lovecraftian chants like "Ph'nglui glw'nafh!" The actual musical content is where Archspire and Omnivortex differ. Omnivortex is clearly influenced by the forthcoming variety of genres, resulting in quite a proggy experience.

The high, devilish pitches of black metal can be heard seeping through Aaro Österman's vocals in "Visitant," but in the other two non-instrumental tracks, he's assisted by Tyler Strugill of Xoth and Julien Truchan of Benighted. Strugill helps in the opening track "Grave Upon Grave," but his contributions aren't as clear as Truchan's brutal death metal gurgles in the closing track. I was very surprised to hear Omnivortex wander into heavier styles, but the more variety the better! Song three, "Stygian Aeons," is where the shreddery we all know and adore shines the brightest. The track traverses through ambient segments, neoclassical solos, and high-speed jam sessions, all three being wonderfully played by the band. Omnivortex displays in this song, and in the rest of the bunch, their top-notch musical proficiency that I only want to hear more of. Sadly, the EP halts at just under seventeen minutes, leaving me impatient for more material.

Omnivortex has brought a fine EP filled with ambience, brutality, neoclassicality, and speed. The problem is, sixteen minutes isn't nearly enough to leave a mark, especially on someone whose side project is literally listening and ranking every technical death metal release in chronological order. I want NEED more from these guys in the future, and hopefully, this is just a sample of a bigger project yet to come.