Omission

Omission is a Spanish blackened thrash metal entity. On 16 March 2026, Omission released their eighth full-length, Doomed Ancient Rites co-released via Black Legion Records and Cruel Gates Records.

Omission, Doomed Ancient Rites Review: This review will evaluate every aspect of the album, from its intricate musical composition to its production.

Omission — Doomed Ancient Rites album cover

The First Three Sins, The Summary

The First Sin, The Strings/Keys: Primitive blackened thrash riffcraft, savage tremolo violence, and speed-metal aggression combine to forge a relentlessly hostile wall of old-school extremity. The Second Sin, The Vocals: Venomous black/thrash barks sound less like conventional singing and more like a warlord issuing decrees from an ancient battlefield. The Third Sin, The Percussions: Punk-charged blast beats, d-beat propulsion, and muscular thrash rhythms drive the album forward with relentless momentum and physical force.

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The Fourth Sin, Overall Discussion

The Gathering of Thunder & Fire

Upon pressing the play button, the opening hymn Ceremony of Thunder and Fire welcomes the listener with an instrumental introduction, establishing the ambiance for the impending devastation.

It stands as the ominous threshold of the record, holding the listener suspended in midair just before they are plunged headfirst into their journey through the remaining nine hymns of unholy warfare.

Rusted Weapons of the Old Ways

Doomed Ancient Rites is a record that is rotting to the core, proudly harking back to the glorious, old-school days of foundational extreme metal. Across over thirty minutes of relentless, skull-splitting music, the entity anchors its sound deeply in an aggressive cocktail of black/thrash and speed-driven proto-death metal.

Concurrently, Doomed Ancient Rites leans into this heavy, primitive and unpolished sound — not modern, sterile retro-thrash; it is a direct, blood-soaked continuation of the early Teutonic lineage laid down by Sodom and Destruction, but weaponised and filtered through a distinct, uncompromising wave of Iberian ferocity.

There are no modern safety nets here — only speed, rust, and ancient malice.

The Blade Beneath the Ritual

The devilmanship across Doomed Ancient Rites is executed with precision, specifically in how it captures the pure, untamed spirit of the old-school underground. This skilful approach extends seamlessly through both the overarching composition and the individual instrumental interplay.

The guitar work serves as the spine of the entire album: fast, rude, and intentionally barbaric, unleashing a torrent of high-velocity black/thrash riffing, relentless and primitive tremolo runs, savage speed-metal down-picking, and jagged chord stabs that offer zero breathing room.

The Raw Tone and Ritual Eruptions:

Hostile anchor — the guitars utilise a raw, serrated tone — a mid-gain, abrasive distortion that is unpolished and left completely naked.
The hymns are defined by frequent whiplash tempo shifts, snapping suddenly from frantic speed-metal violence into stomping thrash patterns built for maximum neck-wrecking impact.
When the lead breaks erupt, they are chaotic, violent, and unconstrained.

Drums of Conquest & Ruin

The bass riffs follow the slicing guitars — reinforcing the collective rhythmic violence rather than carving out distracting counter-melodies. The drums unleash a torrent of pure fury. Fast, punk-inflected blast beats completely dominate the shorter, more frantic hymns, while straightforward, aggressive thrash patterns and driving d-beats keep the momentum relentless.

It is a primal, back-to-basics percussive assault that values sheer momentum and physical impact over modern, over-engineered complexity.

The Warlord’s Decree

Cutting through this storm are the harsh, rasped black/thrash vocals:

Sitting much closer to a venomous, predatory bark than a standard high-pitched scream, the vocal delivery is fiercely spiteful, commanding, and ritualistic.
The delivery serves as the perfect sonic vehicle for the album’s overarching themes of occult warfare.
The performance feels less like recorded singing and more like a tyrannical warlord barking decrees from the front lines of an ancient, unholy battlefield.

Witnesses to the Violence

The production bears the unmistakable imprint of a small, cramped Iberian room — concrete-walled, suffocating, and heavy with the thick heat of glowing amplifier valves. You can feel the immediate, physical proximity of the performance: the slicing guitars bleed directly into the drum overheads, the rumbling bass violently rattles the room’s low corners, and you can hear the vocalist’s frantic breath hitting the microphone grille.

This is pure, unadulterated cohabitation. The band occupies the same physical space, and the microphones simply stand as passive witnesses to the violence unfolding before them.

The result is a sonic topography that feels profoundly lived-in, completely unsterile, and ritualistically honest.

Pang of Death

As the album closes with the devastating final hymn, Pang of Death, the ritualistic circle is completed, leaving the listener broken beneath a mountain of rusted iron and charred bone. Overall, Doomed Ancient Rites is a fruit of art — a record forged entirely in speed, spite, and raw Iberian ferocity.

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The Fifth Sin, The Memorabilia

For me, the fundamental memorabilia of Doomed Ancient Rites is its uncompromising ability to deliver a blackened thrash metal attack that is genuinely rotting to the core. The record is filled to the absolute brim with high-quality, old-school thrash/black metal and proto-death metal composition that avoids any modern synthetic traps.

It is a highly infectious, hyper-focused display of speed and malice that will surely send dedicated underground listeners into frenzies of primitive delight.

The Sixth Sin, The Artwork

The artwork avoids a typical, expected display of chaotic or surface-level violent imagery; instead, it reveals a deeply ceremonial atmosphere, almost monastic in its bleak restraint. It feels less like a modern metal cover and more like a decaying relic recovered from a forgotten, subterranean cult.

The Seventh Sin, Disrelish

Only a singular disrelish can be unearthed within this tomb ‐ and even then, it is not a flaw in the traditional sense, but perhaps an extension of the band’s raw production desires. While the rhythm tracks, crushing riffs, and driving d-beats operate with perfectly coherent savage violence, the chaotic guitar solos occasionally feel disconnected from the surrounding composition. Rather than intensifying the atmosphere, they sometimes pull attention away from the dense momentum the band works so hard to establish.

Apart from that brief, erratic fracture where the leads threaten to split the seam, every other element strikes with absolute, lethal conviction. The muscular drumming, the heat-warped room sound, the suffocating atmosphere, the blistering guitar attacks, and the spiteful vocal barks all hit the nail directly on the head.

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The Hymns

01. Ceremony of Thynder and Fire (instrumental)
02. Empty, Aching, Underrated
03. Inner Ugliness
04. Howling at the Moor
05. Hymns to Abomination
06. A Witch Will Be Born
07. Dark Entries
08. Skull of Stinking Mold
09. The Phantom Kings (instrumental)
10. Pang of Death