We last heard from this German / Australian duo as they disrupted space with their own hostile planet suite that was Solar Spectre. With ties to Todtgelichter and Ne Obliviscaris among others it’s no surprise that what we have here is going to be an uncompromising and challenging listening experience, especially as we are informed The Anticurrent is like how “a myriad of Black Holes devouring themselves in a time distortion” may sound. Here we move back to the big bang and the creation of the universe, which might surprise you as often it sounds like the death throes as it tears itself apart. Creation is obviously just as violent as destruction.
Opener ‘The Alpha’ is a mass of chaotic drumming and hoary vocals. We could say that it sounds like all the instrumentalists are playing different songs but it’s all down to the one person Tentakel P. There’s also a somewhat jazzy piano run beneath it all and if you manage to get your ears accustomed its volatile and highly experimental. It kind of reminds me of what Crass were doing as a two fingered salute to punk conformity but with death and black metal. Yes Sir I Will made the listener feel sick at times and this has a similar effect. Thank Satan for ambient interludes from the fathomless void. ‘Creation’ itself is no less jarring although the first of what can only be described as techno communications flow through the airwaves as though a lost spaceship has just accidently flown in and is battling against the chaotic formation of the universe. ‘Iron Age’ sees mankind and indeed womankind emerging from the sea. Thankfully this means that the album adds some femininity as an opposition to Xenoyr harrowing vocal roars. The first of several guests is Adrienne Cowan of Seven Spires and Avantasia and her parts bring a delicacy along with slower tempo, which is soulful and soothes the fevered brow of the listener, even if only momentarily.
We are challenged by progressive tones with thick bass and tinkling piano on ‘Banish Us From Eden’ which do nothing to dissuade us from the corrosive avant-garde weirdness of this project. Then we are blasted by techno bolts as we hit warp speed and fly ‘To The Stars’ in a furious flurry of mania, which would have even the hardiest space rock fan wondering just what the hell they had been smoking. Second example of (thinking outside the box) guest is Lindsay Shoolcraft of Antiqva and ex- Cradle Of Filth who adds a spooky and witchy spell over the low end doom of ‘Death Rays.’ At least by now we have a linear form of song structure and it’s a lot easier to handle things than the corrosive start of the album was. We are left with a 12-minute epic ‘Voices From The End Of Time’ where vocals lines are repeatedly spat out with the added snarl of András Nagy of Sear Bliss, hammering into your head along with, stabbing piano and soothing passages of orchestration before the whole thing disrupts and breaks down and we are left adrift in space. Wow!
Having given a Hosanna to Killing Joke on last album, here we get another 2 covers. It seems right to allow Andras again to contribute to his own composition with ‘Night Journey’ from the excellent ‘Glory And Perdition.’ Finally, a song that should need no introduction ‘Ye Entrancemperium’ complete with Todtgelichter’s Marta J. Braun. Both tracks are excellently handled and retain the essence of the originals whilst bringing in some of Omega Infinity’s own unique identity.
On the whole this starts off as a work of uncompromising madness and mayhem and will take repeated listens before it all starts to make a semblance of sense. Luckily, I have grown to really like it after first impression bamboozlement. Still it straddles a fine line between genius and lunacy and you should be aware of that before tackling this black hole of an album.
(8/10 Pete Woods)
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