The Melbourne trio are making some serious waves and deservedly so. Their third EP “The Mind’s Eye” is a beautifully progressive expression of technical music devoid of wankery. I think the strength of the EP resides in its desire to be genuinely interesting and musical without trying too hard or force a particular theme upon the listener, just to frame whatever is going on inside the mind at the time of listening within a soundscape. Reading that back, that really reads as hella lazy but that’s what I felt when listening so I’m committing to it.
The movements, progressions and ambiance of the tracks are stellar and incredibly full of heart. Borrowing from and fusing jazz, prog, ambient, dance, industrial as well as others, there’s a stream of consciousness vibe that lofts one from scene to scene with a feather touch even when the swelling undertow is anything but feathers. It’s just impossible to not be impressed with its execution and finesse. Especially with moments like those found in “Khimaira” where at one point, there’s a cheeky stumbling of timing that is sure to shoot a little dopamine around the mind. Or the ending of “The Lifeless Charm” which takes on a dance-like character reminiscent of Aphex Twin (at this point i was wringing the drool from my beard, great job lads!). The intensity gives way to the gorgeously melodic “Moonstruck” which is set to the ambiance of chirping birds deep in the background, building ever so triumphantly into a lump of joy stuck in my throat. I swear, only a psychopath wouldn’t be brought to their emotional knees by that composition.
The production work is a masterclass, the bass tones are amazingly unique despite the distinctive tone of Darkglass gear used exclusively throughout. This is all in the fingers and playing techniques employed, the lads knew exactly what they were aiming for with even the drums at times acting like a melodic instrument of sorts which tightens everything together wonderfully. They do include an extensive amount of auxiliary instrumentation in the form of pianos, synths, sound effects however they act as the salt and pepper of the compositions, the focus is squarely on the dual basswork and percussion. The mixing is suitably lovely, everything in place and a place for everything.
By the time you get to the end, you really just want to go back to the start, the best thing about this EP is how natural it comes off but is carefully composed. You can go back to the start and listen again, be affected by the same hallmarks but consistently find something new be it the individual performance of bassists Toby Peterson-Stewart and Matt Fack, drummer Jerome Lematua, their combined performance with and without the ambience in the background. Each time you listen and focus in on an aspect of the EP, you find a new way of hearing it and it constantly sounds fresh.
I would really like to offer critique and poke a hole in someplace somewhere, but that task is truly beyond me in this case. The guys have put together some truly great music and in my opinion, it is transcendent of personal taste and preference. Sure there are some listeners who might not get into it but that is certainly not the fault of The Omnific and, dare I say, those people would be few and far between.
I guess the only critique I can realistically offer is, The Omnific sound like themselves to a fault. That’s definitely not a detriment at all, it’s highly likely that has delivered them the ever expanding audience and acclaim they rightly enjoy. Yeah, that’s my critique. This EP and the band are too good and incredibly unique. How bullshit is that for a critique!
They’re also very humble as evidenced by my previous interview with Feck which you can find HERE, this also sheds some light upon the closing track “Erin”.
Listen to “The Mind’s Eye” in full above, if you like what you hear support the band HERE!