Omen Albums (6)
What The Critics Say
Upon hearing the name Crash Music, one tends to think of a company that has signed a lot of young bands from the metal underground -- underground as in death metal, black metal, grindcore, metalcore, and hardcore. The Phoenix, AZ-based company hasn't worked with a lot of veteran artists, but it has worked with some, including Diamond Rexx, Paul Di'Anno (who was Iron Maiden's lead singer before Bruce Dickinson), and Omen. An underexposed fantasy metal/power metal band that goes back to 1983, Omen has never been a big name in the headbanger world, but it does have a small cult following. Although released in 2003 -- the year that marked Omen's 20th anniversary -- Eternal Black Dawn sounds like it could have been recorded in the late '70s or early '80s. This CD is fantasy metal/power metal in the classic sense -- classic as in Maiden, Ronnie James Dio, UFO, King Diamond, and Judas Priest. In fact, Eternal Black Dawn is totally untouched by post-'80s, post-Nevermind trends in metal and hard rock; the disc is oblivious to alternative metal and there isn't a trace of grunge, death metal, rap-metal/rapcore, industrial metal, or even thrash to be found on any of the songs. Eternal Black Dawn is loud and aggressive, but not in a harsh, punishing, go-for-the-jugular way. Omen's work is actually quite melodic -- especially compared to some of the ultra-brutal, ferocious death metal and metalcore that Crash Music has released in the 21st century. Eternal Black Dawn isn't as consistent as it could have been, but for the most part, Omen's writing is decent -- and while the disc falls short of exceptional, it's worth checking out if you're a die-hard fan of old-school fantasy metal. ~ Alex Henderson, All Music Guide
'Warning of Danger'
Release Date 11/5/1996
Tracks 10
Label Metal Blade
See Album Tracklist and Review
What The Critics Say
Like many of the New Wave of British Heavy Metal bands that inspired them, the appeal of Omen's songwriting seemed to be inversely proportional to the quality of their recordings. That is, as the band matured and produced ever more polished and technically professional LPs, a certain something was mysteriously lost in some bizarre kind of reverse Faustian bargain. Which is a long way of explaining just why their second album, 1985's Warning of Danger, though clearly superior in scientific terms, was simply not quite as good as its predecessor, 1984's minor classic Battle Cry. Opinions may vary, of course, but the general consensus among critics and fans appears to support this odd contradiction, no matter the presence of quite a few top-notch metal anthems like "Ruby Eyes (Of the Serpent)," "Termination" and the stately "Hell's Gate," being found on Warning of Danger. Perhaps coincidentally, perhaps not, most of these highlights were also the ones bearing the most lingering hallmarks of the band's early Iron Maiden influence: tightly played harmony guitars, galloping rhythms, and fantasy yarns to cap them (see also the cryptically named "V.B.P.," in that regard). In any case, the remaining material lacked the distinct spark of those earlier, rough-hewn gems -- dulling Omen's edges and initiating the process of decline that would see them get lost amongst the endless stream of competent, but now forgotten, American metal bands putting out records in the mid-'80s. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
The final album recorded by Omen's classic lineup, The Curse found the Los Angeles group in a state of transition, relinquishing many of their original New Wave of British Heavy Metal-inspired trademarks in a somewhat forced attempt to play catch-up to the by-then dominant thrash metal movement. The ploy didn't work, however, and, even when they could still count on solid songwriting instincts and top-notch musicianship to carry them through, speed metal wannabes like the opening title cut, "S.R.B.," and "At All Cost," were quite simply no match for the innately thrashing likes of Metallica, Slayer, et. al. On the other hand, when Omen remembered their roots, their abilities for fashioning multi-paced and melodic heavy metal, bordering on the yet-to-be-conceived subgenre of power metal, were still as good as it got within the 50 states. The Curse offers two formidable examples of this talent: the near epic "Teeth of the Hydra" -- a veritable tour de force for guitarist extraordinaire Kenny Powell; and the fan favorite "Holy Martyr" -- featuring an unforgettable chorus and introduced by what is almost surely Omen's most recognizable riff ever. It could be argued that this pair alone more than justifies The Curse's enduring position as a minor cult favorite among '80s metal collectors, but rarely as lofty as that held by its two predecessors. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
After three albums and one E.P. of critically lauded, but frustratingly unsuccessful, British-inspired American heavy metal, Californians Omen found themselves torn right down the middle; caught in a creative power struggle which ultimately resulted in guitarist Kenny Powell and bassist Jody Henry parting ways with vocalist J.D. Kimball and drummer Steve Wittig, before setting about recording their next, sadly ill-fated and ironically suitably-named, next album, Escape to Nowhere. Arriving in stores in 1988, by which point America's heavy metal landscape had been decisively (and, in retrospect, fatally) split between chart-minded glam metal and staunchly anti-establishment thrash, the album's confused positioning in the wishy-washy no man's land between (glam-like cover, tepid sometimes-thrash inside) pretty much sealed its doom from the get-go. A forgettable cover of Golden Earring's "Radar Love" was tellingly sequenced second in an obvious show of no confidence in the group's original songs, which, with titles like "It's Not Easy," Poisoned," and "No Way Out" seemed eerily prophetic of bad things to come. And based on the creeping "Thorn in Your Flesh," one would almost think that Omen were trying to emulate equally floundering Metal Blade label mates Cirith Ungol, when employing new vocalist Coburn Pharr's gravelly whine -- odd. In any case, Escape to Nowhere's resounding failure wound up spelling the end of Omen's rough ride through the ‘80s (though Kimball would eventually revive the group with new sidemen in the late 90s), just as Pharr was being poached by rising Canadian thrashers Annihilator. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
Many up-and-coming American metal bands of the early 1980s wished they were Iron Maiden, but few came as close to achieving the feat as Los Angeles' Omen with their debut album from 1984, Battle Cry. Although it was also obviously fueled by the nascent acceleration of thrash (look no further than raging opener "Death Rider" for that), the album's steel-bound heart was unquestionably pumped by New Wave of British Heavy Metal blood: from the gritty staccato riffs and pounding war-drums, to the predominant fantasy themes and anthemic choruses gracing such enduring standouts as "Dragon's Breath," the title track, and the heartfelt love song (well, not really) "Be My Wench." True, probably none of the songs on Battle Cry stood out for true originality or groundbreaking invention; but it's pretty nigh impossible to remain unmoved by the fist-pumping, head-banging passion (not to mention red-hot fretwork from guitarist Kenny Powell) behind the likes of "Die by the Blade" and "Bring out the Beast" -- and that must count for something. Heck, even over-the-top closer "In the Arena" is still completely irresistible, no matter a true-blue metal head's age or cynicism; suffice to say Ronnie James Dio would kill to have written it! And yet, because their subsequent albums arguably never matched this first one's consistency, time has not been as kind to Omen's memory as that of, say, the overrated Metal Church, the often ludicrous Manowar, or even well-deserving labelmates Armored Saint. But, for fans of classic American heavy metal looking for a guaranteed mid-'80s delight, there's little chance of a letdown from this release. ~ Eduardo Rivadavia, All Music Guide
