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Meursault Omega - Meursault Award winner

Meursault Omega
by Rachel Montgomery at 27 February 2020, 11:10 PM

If you’re looking for your next workout soundtrack, you’ve come to the right place. MEURSAULT OMEGA skillfully combines different genres to create their debut, futuristic thrash industrial noise metal album “Meursault”. Reminiscent of 90s punk noise band THE PRODIGY, the band has a unique techno fans that will be sure to please fans of the noise genre.

The opening track, “Abduction!” is something right out of a fever dream. The low, tuned-down guitars are straight from Nu-Metal influence, combined with a psychedelic riff that keeps going. While I enjoy the 90s funk mixed with Doom, reminiscent of early MARILYN MANSON, I wish I could at least understand the lyrics, or at least gather what they’re saying and how it fits with the song. It’s not a big critique; distortion is a feature, not a bug on this album. The harmonies are likewise deliberately sloppy and clearly meant to sound like you’re experiencing this high. The continuous whine of the guitars and pounding drums especially sets the atmosphere; I feel like I’m at a rave.

The album features heavy bass or electronic riffs throughout. The second track, “The Truth About Admiral Byrd’s “Bitter Reality” At Earth’s End”, feels more like a 90s bass riff with heavy influences from 1960s Surf Rock in the drums and rhythm, but the third track feels more like electronic metal, at least, until the vocals come on. Then, it sounds like a soundtrack scene in the film "Lost Highway". This, in turn, creates a gritty, science fiction aesthetic throughout the entire album, but think more “Blade Runner” and less “Star Wars”. They also make use of distortion throughout. “War Of The Wolves” especially uses crackling electronics as ambiance, plus a buried, distorted vocal track. At this point, I’m considering it a feature and not a bug. It also increasingly reminds me of early RAMMSTEIN, pre-“Mutter” album when they were more techno.

The way they combine unique genres of music into this industrial techno piece is extraordinary. The distorted narrative in “HOR+US” creates this harmonizing effect that’s interesting. Plus, the old-school video game outro is this ironic tongue-in-cheek inclusion to juxtapose this really heavy song. It put a smile on my face. “Black Sunday” has a deliberate BAHAUS sound, especially the beats and the background vocals. “Charade '72” takes it back to the funk beats reminiscent of early-mid 90s rock, and “The Last Remnant” has a more laid-back, ethereal beat not unlike 90s Britpop; the melody and rhythm reminds me of a distorted “Supersonic” by OASIS. “Demon Pazuzu” has a rest at the end of each measure that revs up its engine and gives it more power as it races through its short runtime.

The closing song “The Foundation Of Rhodesia (Zimbabwe)” is a frenzied beat that’s behind a political speech or doctrine. It leaves the album where it began: on a fast-paced note that makes me feel like I’m at club or playing a combat or racing video game. The abrupt ending, however, leaves me wanting more.

Overall, the album feels like watching a David Lynch film, or like I’m at a rave. I love the retro beats, the ambiance, and the variety of tracks condensed into a dark, heavy industrial sound. It’s a nightclub wonderland for the ears. And while many of the influences I heard were over 20 years old, the band sounds fresh and futuristic because of their unique combinations of style.

Songwriting: 9
Production: 9
Musicianship: 10
Memorability: 10

5 Star Rating

1. Abduction!
2. The Truth About Admiral Byrd’s “Bitter Reality” At Earth’s End
3. Little Mouse
4. War Of The Wolves
5. HOR + US
6. Black Sunday
7. Charade ‘72
8. The Last Remnant
9. The Disappearance Of Majorana
10. Demon Pazuzu
11. The Foundation Of Rhodesia (Zimbabwe)
Nicli – Vocals, Bass
Raigo – Guitars, Backing Vocals
Satinu – Guitars, Backing Vocals
Krako - Drums
Record Label: Independent


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Edited 27 November 2022

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