Omni – ‘Souvenir’ album review: resounding post-punk with a twist
THE SKINNY: In the wake of the recent post-punk trend ebbing away, the stalwarts who were drawn to the genre for genuine reasons persist, offering a more authentic rendition of the music they cherish compared to the multitude of recent imitators. Among these enduring groups is Omni, who return with their new album Souvenir. With a masterful compilation of 11 tracks, the trio pays homage to their influences and ventures into uncharted territory. While rooted in post-punk, Souvenir promises to deliver something distinctively original.
Of course, the dovetailing guitars and rhythm section remains, as it has always been Omni’s most distinctive angle, with frontman and bassist Philip Frobos linking up with guitarist Frankie Broyles across the record with both intent and imagination. However, this time, it’s slightly different in complexion, with the push and pull more pronounced than ever, as Frobos told Far Out in a recent interview.
The record carries Omni in their most driving episodes and prompts moments of deep introspection in others. Like before, it is their primary pathfinding tool on this sonic happening, allowing them to keep the listener locked in with their typically driving motorik rhythms. It also sees the group inching deeper into fresh climes as a new, more dramatic spin is placed upon the symbiotic relationship between harmony and dynamics. There is also added reliance on the synth and piano found on the record, which adds another element to the Atlanta outfit’s multifaceted sound. Accordingly, the new offering boasts a refreshed feel after a long five years away, and the group are not the same as found on 2019’s Networker.
While some may argue that Souvenir occasionally treads familiar ground, a deeper examination reveals the creative vision and expert execution that elevate this album to a remarkable listening experience. Omni retains the elements that catapulted them to influence upon their emergence, yet they now ascend to even greater artistic peaks. Notably, they explore diverse musical epochs, infusing their compositions with a theatrical flair that keeps the music in constant flux. With Souvenir, Omni demonstrates that they are just getting started, hinting at even greater things to come.
For fans of: Glancing up from the couch, considering doing the mounting pile of dishes, but popping down to The Swan and Paedo instead.
A concluding comment from Tom’s mother: “They’re like songs, but not quite. A bit like how my grandsons drawings are like art, but not quite.”
Souvenir track by track:
Release Date: February 16th | Producer: Omni / Kristopher Sampson | Label: Sub Pop
‘Exacto’: A perfect way to open the album, this cut is brimming with the band’s typical funky dynamism, with the grooving bassline and almost robotic-sounding guitar dovetailing to full effect. The chimes of the guitar and rhythm, as well as Philip Frobos’s syllabic lyrics, are as potent as they come. [4/5]
‘Plastic Pyramid’ (featuring Izzy Glaudini): Another head-bobber, as Frobos sings about the titular building, the band take us on a driving sonic journey, where their customary sound remains but is augmented by the vocals of Automatic’s Izzy Glaudini. The guitars are particularly brilliant here, with Frankie Broyles demonstrating exactly why the group are one of the most influential from the most recent post-punk resurgence. The retrofuturist solo and cacophony at the end is vintage Omni. [4/5]
‘Common Mistakes’: In the third track of Souvenir, Omni embarks on a more dynamic journey, captivating listeners with a whirlwind of sonic oscillations. Amidst the various highlights, the central riff, delivered with a raw, biting edge not typical of Omni’s style, truly commands attention. Once again, the band delivers an infectious offering that leaves a lasting impression.[3.5/5]
‘Intl Waters’: On this track, we hear the other elements that Omni have been toying with as of late, with their motorik groove giving way to something more romantic, with Frobos’ dramatic, compressed vocals, complex bass work and the Broyles’ guitar taking a different, almost vaudevillian route. The addition of the stirring piano was a masterstroke. [4/5]
‘Double Negative’: Another choppy number. This is more akin to vintage Omni, but that’s no bad thing. Glorious syncopation is something the group are adept at, with Frobos’ singing much deeper and resultingly ’80s-evoking, given the evident influences the band have always made good on. It might not be the most original thing you’ve ever heard, but there’s no doubt each member is a master of their respective instrument. Extra marks for how they layer their sound. [4/5]
‘PG’: The drive of the tom-heavy rhythm carries ‘PG’. It adds an extra level of grit that counterbalances the melodic singing of their frontman, and naturally, you wonder where this composition will lead us as new parts are thrown in and then yanked from the mix. The brief electronic arpeggio that closes the song reflects the band’s broad scope and preference for throwing in surprises. Clearly, the album is just getting started. [3.5/5]
‘Granite Kiss’: This number speaks for itself, with Broyles excelling across its duration. That rapid, quick run he does intermittently is exceptional and points to his natural ability and the vision that has made Omni such a fan favourite for 13 years. Furthermore, the wonky breakdown in the final third, comprised of noises, dissonant piano crashes, and glistening bursts on the keys, is another manifestation of their collective imagination. You get the impression they’re moving towards a rock opera. [4/5]
‘Verdict’: A more punk-infused number, ‘Verdict’ is fuelled by Broyles’ harmonised riff, which is as incisive as found on Souvenir, with the bass and drums converging to create a pulsating ballast for his flourishes. Weaving between darkness and light, this has the makings of a fan favourite, as Frobos’ vocals immediately drive themselves into the prefrontal cortex. [4/5]
‘F1’: While the formula might be starting to wain a little by the ninth offering, there’s something inherently catchy about Omni’s work on this one that dodges any serious critiques. Enough is going on here to keep you from being bored, with the melodic slides of the bass and stabs of the guitar a real delight. Adding the backing vocals also offers another effective element that makes this one stand out. Then, in the end, the group surprises us once more, with the tranquil fall of the rain closing it a simple, transcendental delight. [4/5]
‘To Be Rude’: A song that bounces between lighter and darker shades, this penultimate stop is one of the most refined on Souvenir. It sees the band fuse their cacophonous post-punk with emotive sensation. It slowly moves towards its spacious end, with the hypnotic beat of the drum keeping you transfixed until the final beat rings out. [4/5]
‘Compliment’: This is the finest song on the album, and it reflects how refined Omni have become by distilling the new areas they have pushed themselves into. A majestic odyssey of the senses, from Frobos’ candid vocals to the guitars, it has you on the edge of your seat, as the almost Wings-like riff and the accentuated first beat of the bar take this effort back to an era not necessarily associated with the Atlanta band, the mid-1970s. The climax is triumphant and seamlessly segues into the heady closing chimes. I know they’re a post-punk outfit, and minimalism is vital, but the end could have been a little longer. Pass me that spliff. [5/5]
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