Tax rate EU

Default:19

Supplier EU

375 Media

Total Cap

Format detail

Colour details

Discogs ID

Limited edition

Colour

Format Music EU

Extended format

Extended format: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Signed copies

Signed copies: No

Download code

Download code: No

Bonus disc

Bonus disc: No

Release date

2024-02-16

Format multiplier

Catalogue number

161597

UPC / Barcode

98787159325

Artist

Omni

Label EU

Sub Pop

Genre EU

Rock

Short for "Subterranean Pop" 

The label was an outgrowth of [a=Bruce Pavitt]'s Olympia, WA based (print) fanzine, which became the well respected cassettezine of the same name. 

After his move to Seattle he ran a music column in the Seattle Rocket also called Sub Pop.

After initial forays into the record label world with a [a=Green River] 7" (not officially on Sub Pop) and the Sub Pop 100 LP, the label exploded onto the indie scene with four influential colored vinyl 7"s which included [a=Mudhoney]'s "Touch Me I'm Sick" which made the year-end top 10 playlist of nearly every music journalist in the world.

Subsequent hyping of the label in the English music press put them on the map, and grunge was born.

Label-Code is 03159; rarely found printed on releases (basically only on releases manufactured/licensed by Warner/WEA Germany)

Omni Trio, the producer from Barnsley, South Yorkshire, later moved to Hertford. Rob Haigh's first release as Omni Trio was on his own label in early 1993. This caught the ear of Hertford based trio 2 Bad Mice who helped sign Haigh to Moving Shadow. Through the nineties, Haigh developed a unique style of what has become known as ambient (or 'intelligent') Drum and Bass and released six acclaimed albums. The *Omni Trio* sound is notable for its intricate orchestrated production and atmospheric sound palette.

Similar Artists: B Boys, Preoccupations, Deeper, Ought, Sneaks, Priests, A. Savage, Ulrika Spacek, Protomartyr,
Drahla,
shame,
Iceage,
Flasher,
Lithics,
N0V3L,
Palm,
Balkans,
Chris Cohen,
Women,
Stuck

Newest Listed Items

Fourth album (second on Sub Pop) by artful, literate guitar-driven rock band Omni zaps fresh energy into the trio’s sound, drawing on the influence of indie/college-rock titans REM, The Cure, and Big Audio Dynamite.
The music of Atlanta trio Omni has always swung fast and hit hard. And&nbsp;Souvenir, their fourth album and second for Sub Pop, packs their biggest punch yet. Inactive during the majority of the pandemic–the longest downtime in their history–they approached this recording&nbsp;with lots of pent-up energy. Guitarist Frankie Broyles, singer/bassist Philip Frobos, and drummer Chris Yonker converted their creative fuel into sharp, driving songs that land immediately, sporting chopping riffs, staccato beats, and wiry melodies.&nbsp;
Why does&nbsp;Souvenir&nbsp;sound so sharp? Because each track is a compact unit that stands on its own, reflecting the time and place in which it was created. That’s why Omni called the album&nbsp;Souvenir: it’s a collection of audio objects, a stash of musical miniatures. Think of it as a family photo album, a binder of rare playing cards, a shoebox holding precious gems.&nbsp;
Take “Plastic Pyramid,” the first song Omni wrote after coming out of lockdown. Filled with twists and turns, it’s a journey unto itself, charged by clanging chords, spinning rhythm, and Frobos trading lines with Izzy Glaudini of Automatic, with whom Omni toured with last fall. (Glaudini sings on two other&nbsp;Souvenir&nbsp;tracks, the first guest vocalist the band has collaborated with). Or take opener “Exacto,” a slicing web of intertwined guitar and bass. Its razor-fine notes and syncopated beats perfectly match pointillist Frobos lyrics such as “Exacto, de facto, concise, quite right”–a line that could well be an Omni mantra. &nbsp;
The precision and clarity of&nbsp;Souvenir&nbsp;comes from some new Omni developments. For one, this is their first album with Yonker as their full-time drummer, and his forceful playing adds exclamation points to every pointed moment onSouvenir. In addition, the trio worked with Atlanta-based engineer Kristofer Sampson for the first time. Sampson pushed the band to a higher degree of power, with Frobos’s vocals more upfront in his pulsing mix and the rest of the music leaping out of the speakers. You might notice that Frobos’ singing is a bit more emotional and even nostalgic this time around. In crafting his vocals, he was inspired by the early college radio rock of formative favorites like REM, the Cure, and Big Audio Dynamite–the kind of bands whose melodies could have been top 40 hits in an alternative universe. The lyrics on&nbsp;Souvenir&nbsp;are also by turns funny, absurd, and even cryptic. A wry humor has always coursed through Omni’s songs, and this time, it comes in shades of both dark and light. In “Granite Kiss,” an “astronomical” love story concludes with the hope that “we can decay together,” while in “PG,” a romantic walk in the park includes a rose-coloured mugging.&nbsp;
Immediacy rushes throughout every moment of&nbsp;Souvenir,&nbsp;making it the band's most powerful album to date. Omni has truly crafted a musical keepsake–a set of songs that you’ll want to keep close, an aural memento you'll cherish for the rest of time.&nbsp;

Souvenir

Music EU

Discover Souvenir by Omni, an artful, literate guitar-driven rock album on Sub Pop. This powerful collection of audio objects will leave you wanting more.