OMNIKOLOSS will release Quantum Fleshdrive on December 4, 2026, through Unholy Conspiracy Deathwork. Their third studio album brings acoustic drums and guitars together with programmed beats, field recordings and analogue synthesizers across six tracks, extending the band's black metal foundation into electronic, ambient and industrial music.
The announcement places body horror, cyberpunk and dark science fiction at the center of the record, citing Tetsuo: The Iron Man, Akira and Blade Runner. Its interconnected scenarios concern technology entering the body and mind, eroding the distinction between human and artificial. The recording draws on instruments including the Moog Sub 37, Korg MS-20, Polysix, Minimoog and Juno-60.
Opening track “Omnisyndrom Alpha 17” examines autonomy within physical and intangible systems of oppression. The supplied description pairs blast beats and extreme vocals with an electronic march incorporating a sample from Tetsuo: The Iron Man. Field recordings of frogs and nighttime sounds around small lakes and moors also enter the arrangement. Its two unnamed characters are summarized in the announcement: “Human one is imprisoned by material reality; Human two is imprisoned by perception.”
“Invisible Eruptions” shifts toward repetitive electronic patterns, programmed rhythms and industrial influences, using guitars selectively to support the structure. The accompanying concept describes “A temporary rupture in reality.” On “Splitmind,” the conflict becomes internal: a human consciousness and an implanted voice struggle for control as the music moves from metal toward a synth-led electronic ending.
The announcement describes that song's premise this way: “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 a scenario of corporate greed, endless content and commodification. Its conceptual description states: “The world does not end in fire and chaos. It ends smiling, brightly lit and perfectly marketed. And while everything falls apart, the system continues to function exactly as intended.”
“Liquid Dreams” takes a slower, heavier and more psychedelic approach, placing synthesizers and organ layers alongside guitar and percussion. Its narrative imagines a drug that reduces fear, regret and despair, offering distance from the self. Closing piece “Artificial End” removes metal instrumentation altogether, combining chiptune sounds, Serum and the Korg Polysix with vocals that alternate between human, monstrous and machine-like forms.
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, with mastering by Markus Stock at Klangschmiede Studio E. Karmazid created the cover artwork, and Johnny Doe supplied additional layout. 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 a writing session between guitarist Tobias Norbinski of DER ROTE MILAN and Feistel of STELLAR MASTER ELITE. Surviolence of CAPTAIN CAVEMEN joined shortly afterward, followed by vocalist Khonan. The current lineup credits Surviolence with drums, electronic beats and additional vocals; Feistel with bass, synthesizers, additional guitars, sampling and production; Khonan with vocals; and Norbinski with guitars.
The band's earlier releases through Unholy Conspiracy Deathwork include Wandering Through Concrete Valleys in 2023 and コンクリートの谷を彷徨って II in 2025. The former's vinyl edition sold out, according to the announcement; the latter was issued as a single 26:53 composition alongside a handcrafted VHS box that also sold out. For Quantum Fleshdrive, OMNIKOLOSS retained a writing process that combines spontaneous performances, deliberately composed passages, acoustic recordings and electronic manipulation.