Bad Omens burst onto the music scene as a fully realized force, captivating listeners with their self-titled debut album released through Sumerian Records. This record is a journey into the band’s shadowy corners, a collection of Bad Omens Songs that resonate with both darkness and brilliance. Bad Omens is an expansive listening experience, balancing introspection with aggression, and the music masterfully reflects this duality. Effortlessly transitioning from poignant piano-driven ballads to the kind of heavy, riff-laden metalcore anthems many bands aspire to, Bad Omens clearly aims for something significant. The raw honesty that permeates this emotional rollercoaster of intense breakdowns and empowering anthems is what keeps it grounded and authentic.
Vocalist Noah Sebastian offers insights into the album, his musical influences, and his interesting aspiration to have at least one song on each Bad Omens record that would be appreciated even by grandmothers.
Reflecting on the Debut Album and Creative Evolution
The debut album was a long time in the making, with some tracks originating over three years prior to release. Noah Sebastian shared his perspective on finally unveiling their debut: “There are definitely parts of it that I don’t hate, obviously, but some of it was written by a version of me that I’m not proud of—or that’s not the best version of me. I’m definitely looking forward to the next record being more cohesive. I’m hoping I’ll be in a more positive headspace then [and] that the record won’t be as full of melancholy and self-loathing as this one.” This candid reflection reveals the personal and evolving nature of Bad Omens songs, rooted in Sebastian’s own experiences and emotional landscape at the time of writing.
When asked if he felt he was in a better place currently, Sebastian affirmed, “I definitely am, and I hope that it stays that way. Either way, it’ll be authentic. I think that’s what made this record relatable, is that [my lyrics were] real. It was honest.” This honesty is a cornerstone of what makes Bad Omens songs connect with listeners – a raw, unfiltered expression of emotion that resonates deeply.
Musical Diversity and Cohesion within Bad Omens’ Sound
One of the most striking aspects of Bad Omens is its cohesive nature despite the sonic diversity. The album seamlessly shifts from hauntingly beautiful tracks like “The Fountain” and “Enough, Enough Now” to high-energy, mosh-pit inducing songs such as “Malice” and “Hedonist.” Addressing the band’s exploration of different sonic territories, Sebastian explained, “I think about this a lot, and it’s hard to answer, because I love so many different kinds of music, and that’s why the album is so diverse. I have so much I want to write about. In my opinion, I think it would be corny to try to put the lyrics to a song like ‘Enough, Enough Now’ to a song like ‘Malice.’ I feel like the music has to be parallel to the lyrics and subject matter, so that you can capture that array of emotion. We want to capture whatever the feeling is musically as well as lyrically.” This philosophy underscores the intentionality behind Bad Omens songs, where musical style and lyrical content are intertwined to amplify emotional impact.
Religious Imagery and Metaphorical Depth in Lyrics
The lyrics of Bad Omens songs are rich with religious references – sin, God, prayer – creating layers of meaning and symbolism. Sebastian elaborated on this, saying, “I grew up in a very religious household. My grandparents were Republican and Christian; I grew up listening to [George W.] Bush keynotes and stuff. I’m not religious, but I really appreciate and enjoy [religious] imagery and concepts, and I think there are a lot of valuable stories in the bible. It’s a very unique way to capture a message by acknowledging the existence of a god or devil, even if you don’t believe in it; it’s a very good metaphor. Like in ‘Glass Houses,’ when I say, ‘I’ve seen the devil more than I’ve seen God,’ really I’m trying to say, ‘I’ve seen more evil than good.’ I like to personify the devil and God and use them as a totem.” This insightful explanation reveals the deliberate use of religious motifs as a powerful metaphorical tool in Bad Omens songs, enhancing their thematic depth and resonance.
Visual Aesthetics and Band Identity
The album art for Bad Omens is undeniably striking, contributing to the band’s carefully crafted image. Sebastian described the development process: “I knew that I wanted a photograph and not digital album artwork or anything that was fake or done on a computer. We told the graphic designer at Sumerian that we wanted to do a photograph, [and] we’d like to tie in the color red and a nature vibe, because of the last song on the record, ‘The Fountain’—probably one of my favorite songs. I wanted it to look how the album’s name sounds: cryptic and witchy, but still approachable.” The visual aspect, like the bad omens songs themselves, is meticulously considered to create a cohesive band identity.
The band name itself, Bad Omens, has an intriguing origin. “The song ‘Glass Houses’ was originally called ‘Bad Omens’,” Sebastian shared. He further detailed the band name selection process, “The band name when I first started as a solo project was Man Vs. Self, and we didn’t really like that name. [Laughs] We literally went through names for months trying to come up with something that fit us perfectly. We put time into making sure that every aspect of the band is done perfectly in our opinion. That can cause delays. We didn’t settle on the name until a month before we actually debuted our first music video; we shot the music video, and we still didn’t have a band name yet.” This dedication to detail in every facet, from band name to music videos, exemplifies the band’s commitment to quality and artistic vision.
High Production Value and Attention to Detail
Bad Omens is known for their high production value across all their content. Sebastian emphasized this commitment: “Bands will put out cheesy lyric videos or rush things without regard for producing high-quality content. We did this contest recently for handwritten lyrics from the album; even for those, we got a black backdrop and did a photoshoot [of] some pieces of paper [laughs], so people could see this thing that we made.” This meticulous approach extends to every aspect of their presentation, reinforcing the band’s brand and the immersive experience of Bad Omens songs.
Addressing Comparisons and Musical Influences
The band has often been compared to Bring Me The Horizon, a comparison Sebastian acknowledges and understands. “I think my voice is a lot to blame, and that doesn’t offend me at all. I think my stance on it is that we share—I don’t know them personally, but I can tell through their content and taste that we share a lot of similar interests and influences.” He further elaborates on shared aesthetic values: “From a marketing standpoint, they’ve branded their band in the same way I’ve always wanted to brand a band. It’s very cinematic and grand; it’s very rich and regal. That’s something I’ve always wanted to do, because I love big spaces, electronic and atmospheric sounds.” Sebastian also cites Deftones and Crosses as significant influences, highlighting the diverse musical landscape that informs Bad Omens songs.
Regarding the pitched screams characteristic of his vocal style, Sebastian points to Linkin Park as an inspiration: “I love Linkin Park, and I’ve always wanted to channel that really raw-pitched screamy singing sound.” He addresses any negativity surrounding comparisons by advocating for shared influences and musical community, citing Cane Hill as a contemporary band doing influence well.
Live Performance and Vocal Technique
When asked about the most challenging aspect of live performance, Sebastian surprisingly identifies the vocal transitions rather than the screams themselves. “It’s funny you ask. That’s probably my strongest ability live. My screams live are pretty consistent. The hardest thing is switching between the two.” This insight into his vocal technique offers a glimpse into the demands of performing Bad Omens songs live.
Universal Appeal and Broad Connectivity
The thematic depth of Bad Omens allows their music to connect with a wide audience. “One of the strongest aspects of the record is that, thematically, Bad Omens is one of those records that I—a guy with a growing number of grey hairs—can connect to as easily as kids still in school can,” the interviewer noted. Sebastian responded, “That’s something that I strive for: making something that’s accessible universally to all ages, genders, and styles of music that people are interested in. That’s another reason why I’m glad we have some softer, relaxed songs on the record, like ‘Crawl’ and ‘The Fountain.’ I think it’s cool to have at least one song that my grandma can show to her friends with pride, and they would understand—that it wouldn’t be awkward. [Laughs].” This desire for universal appeal underscores the band’s intention to create bad omens songs that transcend genre boundaries and resonate with diverse listeners.
Experience the Darkness of Bad Omens Songs:
Explore the intricate soundscapes and emotional intensity of Bad Omens and discover why their songs are captivating audiences across the spectrum.
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Photo by Catherine Patchell
