OMNIKOLOSS – Quantum Fleshdrive Explores Bodily Autonomy Through Black Metal and Electronics

OMNIKOLOSS examine the erosion of human autonomy on Quantum Fleshdrive, their third studio album, due December 4, 2026, through Unholy Conspiracy Deathwork. The six-track record brings acoustic drums and guitars together with programmed rhythms, field recordings and analogue synthesizers, extending the band's black metal foundation into electronic, ambient and industrial music.

The announcement identifies body horror, cyberpunk and films including Tetsuo: The Iron Man, Akira and Blade Runner as influences on the album's world. Its narratives follow technology entering the body and consciousness, progressively blurring the distinction between human and artificial.

Opening track “Omnisyndrom Alpha 17” addresses autonomy under physical and intangible systems of oppression. Its arrangement combines blast beats, extreme vocals and an electronic march built around a sample from Tetsuo: The Iron Man. Field recordings capture frogs and other nighttime sounds around small lakes and moors. The announcement describes its two unnamed characters plainly: “Human one is imprisoned by material reality; Human two is imprisoned by perception.”

“Invisible Eruptions” shifts toward programmed rhythms, repetitive electronic patterns and industrial influences, with guitars used selectively. Its conceptual starting point is described as “A temporary rupture in reality.” On “Splitmind,” a metal-based opening gradually gives way to synthesizers as two voices enact a struggle between human consciousness and an implanted presence. The announcement explains: “What begins as a story about hiding from machines ultimately becomes a story about losing the last private space a human being possesses: the certainty that one's own thoughts still belong to oneself.”

At 1:59, “Nectere” brings black metal and death metal together around corporate greed, commodification and endless content. The slower, psychedelic “Liquid Dreams” places synthesizers and organ layers alongside guitars and percussion. Its narrative considers a drug that reduces fear, regret and despair, framing escape as a withdrawal from the immediate experience of the self.

Closing piece “Artificial End” dispenses with metal instruments. Chiptune sounds, Serum and the Korg Polysix underpin vocals moving between human, monstrous and mechanical characters. Its accompanying statement returns the album's control narrative to consciousness: “The real prison is not living inside a controlled city, but realizing that the system has learned to continue existing inside your own consciousness.” Elsewhere across the record, the synthesizer inventory includes the Moog Sub 37, Korg MS-20, Minimoog and Juno-60.

The running order is “Omnisyndrom Alpha 17” (12:24), “Invisible Eruptions” (7:51), “Splitmind” (8:51), “Nectere” (01:59), “Liquid Dreams” (6:45) and “Artificial End” (03:55).

David Feistel produced and mixed Quantum Fleshdrive at Cave Sustain. Markus Stock mastered it at Klangschmiede Studio E. Karmazid created the cover artwork, with additional layout by Johnny Doe. The announced 12-inch vinyl editions comprise 150 Hypnotoad Green copies and 100 Fleshdrive Red copies. A limited edition of 20 special sets pairs Fleshdrive Red vinyl with an exclusive DIY cassette and an OMNIKOLOSS pin.

OMNIKOLOSS began in 2020 with writing sessions between guitarist Tobias Norbinski of DER ROTE MILAN and David Feistel of STELLAR MASTER ELITE. Surviolence of CAPTAIN CAVEMEN joined shortly afterward, followed by vocalist Khonan. The current lineup assigns drums, electronic beats and additional vocals to Surviolence; bass, synthesizers, additional guitars, sampling and production to Feistel; vocals to Khonan; and guitars to Norbinski.

The band released Wandering Through Concrete Valleys through Unholy Conspiracy Deathwork in 2023. Its follow-up, コンクリートの谷を彷徨って II, arrived through the same label in 2025 as a single 26:53 composition accompanied by a handcrafted VHS box. For Quantum Fleshdrive, OMNIKOLOSS continued a working process that combines spontaneous performances, written passages, electronic manipulation and acoustic recordings.

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