Style: Progressive Metal, Fusion (Instrumental)
Review by: Mike
Country: Australia
Release date: October 20, 2020
Guitar based instrumental rock & metal has been a niche genre for a number of years. Never truly breaking into the mainstream, instrumental acts have always played second fiddle to bands less vocally challenged. The silver lining is that since the quasi-breakthrough of artists like Joe Satriani and Steve Vai in the 80’s, the niche has built a loyal following. In the last decade the torch has been passed to a new generation of guitarists who have come of age during the YouTube revolution. While not as popular as contemporaries like Plini, David Maxim Micic, Sithu Aye, or Widek, James Norbert Ivanyi feels less cookie-cutter than the slew of home brew guitarists releasing EPs these days. Ivanyi’s aesthetic really adds to the experience as a whole. Between the macabre album art and the ominous organ, his vibe definitely has a darker edge. This somewhat cryptic sensibility helps James to separate himself within the instru-metal genus.
The first half of Omen Faustum leans more towards rock/fusion but the second half is where Ivanyi really hits his prog metal stride. Mixing up the order of the track list would have created a more balanced flow. The first 3 songs (after the intro) start to run together and the album would have been better served to move one or two of the later tracks up to break up the monotony. As it stands now, it kind of feels like 2 EPs stuck together to form one full length LP.
For a “guitar album”, the keyboards really play a central role in the overall concoction. Performed by Ivanyi, the synths are really intriguing and complement the guitar work throughout. Whether it’s an organ doubling a fast bit or synths creating a shift in dynamics, the keys are on point and help to elevate the album beyond just another shredfest. Ivanyi does a good job of walking the fine line between technical wizardry and composition. His playing is clearly virtuosic but not in a domineering way.
These are solid prog tracks that would fit in with a lot of popular progressive artists, vocals or not. A song like the title track, “Omen Faustum”, could be described as 7 minutes of instrumental Opeth with moody keys, dynamic drumming, and rhythmically challenging riffs. “Rubik’s Grand Convolution” embraces the eclectic and is like a shred version of Igorrr. “A Magnanimous Obeah” shifts between subdued fusion with staccato organ hits, furious double bass, and full tilt rhythm guitars. “The Fusion Jinx” lives up to its name, acting like someone put a hex on a Plini b-side and dropped a bass solo in for shits and giggles.
In the end the target audience for this album is someone wearing an Opeth shirt, listening to Kiko Loureiro, all while putting up Halloween decorations. The instrumental format isn’t for everybody and the window narrows even more when talking about progressive rock & metal. I wouldn’t recommend this album for those that aren’t already accustomed to the niche world of metal-minus-vocals, but for those that have already gone down that rabbit hole Omen Faustum is definitely worth the time.
Recommended tracks: Omen Faustum, The Fusion Jinx, A Magnanimous Obeah
Recommended for fans of: Plini, Opeth, David Maxim Micic
Final verdict: 7/10
Related links: Bandcamp | Spotify | YouTube | Facebook | Instagram | Metal-Archives page
Label: Independent
James Norbert Ivanyi is:
– James Norbert Ivanyi (Guitar, Bass, Keyboards)
– Additional Bass by Liam Horgan
– Drums arranged and recorded by David Horgan
– Additional Keyboard by Beau Golden
0 Comments