Omnifear drags you straight into the wreckage. Kingdom, out just this January 28, 2026, is a compact but crushing EP, like three years of frustration, obsession, and refinement boiled down to pure pressure. Built across continents and stitched together by producer-guitarist Yan Yang, vocalist Aerith Corneau, and bassist Emilio M. Rizzi, this record sounds global in both scope and rage. Drawing from the darker corners of Opeth, Fallujah, Mayhem, and Arch Enemy, Omnifear weaponize claustrophobic riffs, suffocating atmospheres, and moral disgust, turning the chaos of the modern world into something sharp, deliberate, and hard to ignore.
What really sets Kingdom apart is its sense of density. Every rewrite, every production tweak, every guest contribution has got its own flavor and purpose. Legendary names like Charles E.A. Hedger, Benjamin Ellis, Kyle Schaeffer, and a lineup of formidable session musicians tighten the sound.ย This is boxed-in, tense, and uncomfortably honest metal that stares at humanityโs worst habits under fluorescent lights.
โAdriftโ opens deceptively soft, with glimmery, almost dreamlike tones drifting through shadowy space. Orchestral suspense creeps in, drums begin to pelt relentlessly, cymbals splash, strings swell, and the track collapses into a hollow ending marked by gritty, guttural breaths hanging in the void. Itโs eerie, cinematic, and unsettling in all the right ways.
โPhantom Tranquility,โ featuring Anabelle Iratni and Richard Shaw, slams the door shut. Grinding riffs and furious drum work create a suffocating enclosure, while hoarse, guttural screams claw at the edges.
The title track, โKingdom,โ goes for the jugular. Blazing distortion and pounding drums collide with menacing growls, a sly higher register, and a fleeting moment of somber, melodic reflection that only deepens the impact. Itโs brutal, bitter, and unflinchingly humanโmetal forged from blood, sweat, and truth.
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Review by: Naomi Joan