Wicked Innocence came from the ultra conservative state of Utah, and after a rather crusty, slightly dull (yet greatly down tuned and guttural) debut named “Anthropological Infestation” they released this little diamond speckled with greenish hues of leafy emerald called “Omnipotence” (guess where the green comes from). Well this album is weird, but generally speaking, we walk into way more familiar environments. Despite some frantic, jagged riffs and a couple of solos that breathe some air of southern Rock between the lines, this album is generally a monolith of crushing, brutish Death Metal. The most distinct thing in here must be the vocals, becouse they’re really gruff and they have the sound of iron grating against stone. This man is a fucking unhuman bull-frog (well, the vocals sound as if recorded very high anyway, so he must be almost whispering, that makes it easier eh). The way I see it, the progressive infusions were still elegantly placed and not too intrusive as they become with “Worship” and this is what makes this album so special. Powerful, crude riffing with some twists embedded in the very sound instead of boing haphazardly mixed. I just can’t digest when experimentation cripples the brutality of a band, if the prog elements just fragment a song aimlessly, it just doesn’t work to me. Add varietly, but the brutality has to stay, cunts! So we have here a chain of hammering solid tracks with the guitar sound of mid era Napalm Death and some Cannibal Corpse-like harmonics, fucked up vocals that gurgle and mutate hideously from a Fleshgrind-like timbre upwards to the whole spectrum, including some spoken), good rhytmic slam oriented riffs, and a nicely hectic drumming. There are no real fusion tricks here, but some arrangements are definitely strange and original (hear the songs “Lines”, “Omnipotence” and “Return to the Gates of Rebirth”). More purely Brutal Death than the other bands that recorded at Time Capsule that I reviewed recently, but quite ahead of its time. No disharmonic licks here, just strange arrangements and a metallic, protagonist bass guitar. The cover art is also real interesting, three streams of souls converging in the middle of a vortex. The lyrics also distinguish neatly the band since they talk about nature and spirituality in a interesting, creative way. They seemed a bit pissed off at living in a mormon country eh eh. There is the same old stupid bollocks about smoking drugs in here, but I just try to ignore it or it will grind my nerves and I would end detracting 4 points from my rating just for it.