Artist: Omegavortex
Country: Germany
Label: Third Eye Temple
Formats: LP / Cassette Tape / CD
Year: 2025
Although I knew there was a new Omegavortex album in the works, I only learned that it was released in December 2025 because I went looking for it on Metal-Archives. Not sure why this slipped under my radar, but it had escaped my notice completely. I was also surprised that the band had seemingly opted for Third Eye Temple from Poland. Honestly I would’ve expected them to land on a label with a bit more reach and appeal, more like their previous home of Invictus Productions. But well, eventually I found out ‘Diabolical Messiah Of The New World Order’ was released and that is what matters. Here we go…
Anyone who has heard anything from the band’s back catalogue before, or perhaps even seen them perform live, knows what to expect when Omegavortex make themselves heard. ‘Black Abomination Spawn’, released in 2020, was already a rather unsubtle piece of work that I needed to listen to a few times to fully take it in. The subsequent split album with Pious Levus from 2022 (also released on Invictus Productions) was every bit as good; in fact, the band took it up a notch.
This second album falls somewhere between the two previous releases. It certainly takes the chaos-driven madness a step further, but at the same time the riffs themselves seem a bit simpler and more reminiscent of the debut. However you look at it, this is yet another album that delivers a completely suffocating experience thanks to the relentless barrage of blast beats and Rob’s frenzied screams. In just over half an hour, the band barely lets you catch your breath; let there be no mistake: this is definitely Black/Death Metal for the advanced listener, and not for hungover Sundays or just a quick listen in between.
Just like the debut album, this too did needed a good few listens to let it fully sink in. To the average human being this will be utter nonsense and diabolical idiocy, and it is hard to disagree with that, taking all the wild and bludgeoning sonic violence that is embedded in these tracks. But, once you’ve trained your ears enough and you are fully accustomed to the sadistic intents of the band, you’ll actually hear the rather interesting riffs and the good drum fills. Yet, it is also the drums that are the weakest link here. I don’t want to take anything away from Florian Mayer’s musical talent, because it’s certainly not down to a lack of skill, but the sound of the drums, particularly the kick and the snare, is so abysmal that it really distracts from the overall experience. It’s mainly because of that drum sound that I prefer to stick with the debut album and the split LP.
