Some albums are just meant to be recorded live. Glasgow’s Ommadon released “V,” on August 4th, 2014; a lengthy, 2 track, self recorded album, which they did on The Hill Of Maud in the Scottish Highlands during the winters of 2012 and 2013. Mastered by Billy Anderson who’s worked with the likes of Eyehategod, Sleep and High On Fire, this albums takes ambient doom down another notch to the point of sonic alienation.
Ommadon thoroughly incubates their presence with ‘V1.’ Through a period which seems like it may take years before notice any tell tail signs of their invasion, by that point, you’re beyond curable. This 47:15 latent sludge disease hijacks your central nervous system and reduces your movements to barely a crawl. Around 28:00 symptoms of other microscopic life seem to overpower yours. Phantom limbs conducted to the tune of their new master. ‘V1’s extensive drone sections create one of the most dooming pieces of 2014. If you can wait it out, and avoid your impending death somehow, the last quarter makes certain that death will surly come. Beating you down with each powerful blow, organs rupture beneath the weight, flattening your fluid filled life sacs for easy storage. Every electrical impulse darkened
‘V2,’ the shorter of the two, is the burial. Shovels peel back layers of soil for spoiled meat. Mourners clutch sweaty palms. Tension in the silence leaves for delicate space, yet no one looks up to acknowledge it. Lowered slowly, the casket is covered, blanketed with rose petals by pale women in veiled sunday hats. Distorted waves of suffering, amplified by ‘V2’s’ wailing guitar presence. Even the drumming on this track become more monumental as the fills expand and break the silence. Remaining void of vocals, the shameful trek away leaves uncertainty, blame and hostility in the air.
This album is more of an art piece. One that takes a special ear to appreciate but not will not be one that everyone will be dying to see live. With the power to create a space of it’s own in this cacophony of worldly existence, sometimes it’s nice to feel like you’re not bombarded. Like you can breath again. “V’s” waves of gargantuan doomy instrumentals are hard to ignore, and even if you try, they’ll surely still sit there, absorbing time and space.