Later, being picked up by Corpus Hermeticum to do a series of 7inch releases and a title called Quad which resurfaced some of his previous self released material in the form of a 3xCD album. Then, later, Williams released on Anomalous Records where he put out more releases: Rejector and Interior Desolation format: cd). Omit is now on Helen Scarsdale with his latest material (a double cd titled Tracer, which some suggest to be his best release since the massive Quad release.) Hypnotic, ambient, synth layering is arranged with a spacey, unconnected feel over very minimal, ticker-esque, cut and click beats. Often songs seem to lack structure in all the right ways, and the beats aren’t beats at all.
They are in effect just a means of slightly coaxing memorization that much more. This composition material is paralleled all with voice overlays, typing sounds, hog noises, keys hitting a table, and other various common and not so common to-the-ears-sounds. They create a very morbid and encapsulating effect that is derived as what would seem to be randomly collaged and polarized sounds that end up occupying the same space. Somehow there is nothing random going in Williams music at all.” 2.
“Omit is a melodic/atmospheric doom metal band based in Oslo, Norway. Members include vocalist Cecilie Langlie (Skumring, Havnatt, Vagrant God), guitarist and bassist Tom Simonsen (Skumring, Havnatt, It’s the End, Vagrant God), guitarist and pianist Kjetil Ottersen (Vestige of Virtue, Diagnostic, Vagrant God), and drummer Bert Nummelin (It’s the End). The band is more or less a result of the members’ previous joint efforts in the Vagrant God project during 2007; a positive experience that prompted them to pursue a slightly darker, less restricted, and more elaborate musical path. Following its inception in early 2009, the Omit debut album ‘Repose’ has become an ambitious opus which, in part, seeks to revisit a major trait of the 90s doom metal aesthetics: The lone mezzo-soprano, carrying a significant share of the momentum from which songs evolve for 10+ minutes. Accompanying this is the characteristic underpinning of droning rhythm guitars offset by contrapuntal leads, being as prevalent as one ought to expect, while shifts into acoustic subtlety add a complementary element of grace amid the distorted gloom.
This is also reflected in the use of violin, cello, piano, and wind instruments; components that largely form the songs’ leitmotifs as their featured parts were among the very first to be written for ‘Repose’. Moreover, a noteworthy dynamic found throughout the album is the periodic occurrences of atonal chord progressions which serve to provide a sense of freshness within the otherwise, and necessarily so, conventional schemes. This, however, is to invoke an idea of Omit’s inclination towards early 20th century compositional techniques which are likely to be further accentuated in future works.” Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
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