Omniverse: Omni are comprised and composed of: guitarist Frankie Broyles, singer/bassist Philip Frobos, and recently added drummer Chris Yonker. Automatic’s Izzy Glaudini nonchalantly chips in with backdropped deadpan drollisms on three tracks adding a complementary fettle of sheen.
Omnidirectional: ‘Souvenir’ is Omni’s fourth long-player. Their first since 2019’s ‘Networker’. The second for the estimable label Sub Pop. Listen attentively and you’ll hear subtle progressions, focus intently you’ll note huddled digressions, absorb gently you’ll feel supple expressions. Once in the only way is up, down, across and within.
Omnifarious: there are some people that carp that all Omni songs sound the same. Jagged, jerky and jolting, stop-start chop-art, beat poet-drawl-talking that cloaks wry-lyrical content, intricate discordancing, potent-pop that provokes the head ‘and’ the heart, as if these are ‘bad’ things? Cloth-ears make the (hu)man indeed.
Omnicompoops: Those people* wouldn’t know an aromatic nuance from an anaphylactic fragrance. Their Television from Terrorvision. Gratifying punk-funk from pacifying lunk-junk. Blithely ignoring neural aesthetics for aural anaesthetics. If, pace French distinctionarian Pierre Bourdieu, taste classifies the classifier, then consider me classified. Some things are best left said.
Omnibus: ‘Souvenir’ has been created, produced and now presented to you as a capsule of distinctive tracks. Interconnected misconnections, fragmented segments, multifaceted artefacts. As a result some of these parts are more than the greater whole. Join them together. See the bigger picture.
Omnipotence: absolute power resides in resolute pragmatism. Majesty reigns down as magnetism. Art exists as anti-dogmatism. Or ought to, anyway. Omni’s does.
*incessant screen-scrolling attention-deficient quick-fix fastfood culture guzzling sorts. We all know some.
Omnidirectional: ‘Souvenir’ is Omni’s fourth long-player. Their first since 2019’s ‘Networker’. The second for the estimable label Sub Pop. Listen attentively and you’ll hear subtle progressions, focus intently you’ll note huddled digressions, absorb gently you’ll feel supple expressions. Once in the only way is up, down, across and within.
Omnifarious: there are some people that carp that all Omni songs sound the same. Jagged, jerky and jolting, stop-start chop-art, beat poet-drawl-talking that cloaks wry-lyrical content, intricate discordancing, potent-pop that provokes the head ‘and’ the heart, as if these are ‘bad’ things? Cloth-ears make the (hu)man indeed.
Omnicompoops: Those people* wouldn’t know an aromatic nuance from an anaphylactic fragrance. Their Television from Terrorvision. Gratifying punk-funk from pacifying lunk-junk. Blithely ignoring neural aesthetics for aural anaesthetics. If, pace French distinctionarian Pierre Bourdieu, taste classifies the classifier, then consider me classified. Some things are best left said.
Omnibus: ‘Souvenir’ has been created, produced and now presented to you as a capsule of distinctive tracks. Interconnected misconnections, fragmented segments, multifaceted artefacts. As a result some of these parts are more than the greater whole. Join them together. See the bigger picture.
Omnipotence: absolute power resides in resolute pragmatism. Majesty reigns down as magnetism. Art exists as anti-dogmatism. Or ought to, anyway. Omni’s does.
*incessant screen-scrolling attention-deficient quick-fix fastfood culture guzzling sorts. We all know some.
