Review by Saxy S for Epica - Omega (2021)

After having to deal with two disappointing comeback albums from two of symphonic metal’s giants (Within Temptation and Nightwish) over the last couple of years, I was starting to get worried about Epica. This Dutch group has been among the most consistent over a near two decade career and it felt like we were long overdue for a followup to 2016’s The Holographic Principle.

Well here’s the thing: I am not opposed to long wait times between albums, as long as the end result is well worth the wait. And man did Epica deliver! Omega is Epica’s best album to date and does almost everything right when it comes to not only symphonic metal, but also developing the Epica sound to astronomical heights.

Now I will say this; Omega is not without its flaws. The trigger bass drum is still persistent in portions of this album, due to the albums high concept, it tends to run long, and you start to feel like Epica is running out of steam near the end of the record, even as they try to incorporate heavier death metal tendencies on “Twilight Reverie - The Hypnagogic State” and “Omega - Sovereign of the Sun Spheres”. But these are issues that have persisted not just in Epica’s music, but also throughout all of symphonic metal.

So if you can overlook the overplayed, bad trends of symphonic metal, what you will find is a splendid album. Simone Simons sounds better than ever and it’s the rest of the band that assists her immensely. I was floored by the opening three numbers: “Abyss of Time - Countdown to Singularity” through “Seal of Solomon” has excellent pacing of the guitar, bass, synth, orchestral and percussive elements, and Mark Jansen’s death metal screams are just an added bonus. The breakdown on “Abyss of Time - Countdown to Singularity” is ridiculous and hits like a Brock Lesnar F5. But it’s the ballad “Rivers” that really got to me. Simone’s transitions between conventional pop and operatic vibrato is impeccable, and the swelling instrumental is gorgeous.

The songwriting has made a huge level up by having some instantly catchy hooks whether from the guitar leads or the vocals. The further elaborations of the symphonic death metal sounds are rewarding, and they even throw in a couple of middle eastern folk touches that would fit right into an Orphaned Land record with “Seal of Solomon” and “Code of Life”. These divergences do not feel forced or cheap; they are well produced, well executed, and make up some of Omega’s top moments.

 I had heightened expectations for Omega; in fact I would say that this was likely my most anticipated early release of 2021, and did Epica come through in a big way! Symphonic metal has had a mostly lackluster handful of recent years, but no one told Epica that! This album feels fresh and original, while still maintaining the points of interest that keep fanboys of symphonic metal like myself coming back for more. This better not be Epica’s “Omega” because they still have plenty left in the tank to deliver.