Omega
The Hall Of Floaters In The Sky

LA RECENSIONE

The only state from the former Eastern Bloc that allowed pop-rock musicians to cross the Iron Curtain (physically, that is) and sing in English (if they were capable) was Hungary; however, the musical offerings from that country did not convince either our critics or audiences, with the exception of Locomotiv GT, Omega, and Fonograf "Group". Especially in Germany and England, these three bands had more than a few followers and supporters.

Omega formed as a variable lineup rock band in 1967 thanks to the keyboardist Gábor Presser who, after composing and producing numerous "psychedelic beat" singles with this band, left them in 1971 to join Locomotiv GT. In 1971, Omega changed their style in tandem with the inclusion of guitarist György Molnar, who immediately became the leader. Now, the sound is hard-hitting, dripping with powerful arrangements with an eye on Deep Purple and the other on Central European progressive rock. In over forty years of their career, Omega released a multitude of Hungarian rock albums with a brief and interesting period containing eight albums recorded and released in the West (England, France, and Germany) under the guidance of Peter Hauke, the producer for Nektar, and with studio assistance from the renowned technician Dieter "Quadro" Dierks. From the hard prog of the eponymous album (1973) and Stormy Fire (1974) to the true progressive rock of 200 Years After The Last War (1974) and Time Robber (1976), including what is likely their masterpiece in English, The Hall Of Floaters In The Sky (1975). They ended their visits to the West at the end of the '70s when the "party" no longer granted special permits for expatriation, but not before managing to release two more studio works and a live album for the German Bellaphon.

"The Hall Of Floaters In The Sky" was recorded in 1974 at Chipping studios in London by a now established formation, with singer János Kóbor (an impressive resemblance to the one of Cugini di Campagna, same hairstyle, very different essence, this guy sang with glass-shattering strength), and with the inevitable production of Peter Hauke. The LP released by the English Decca contains six tracks, all splendid, with the fresh arrangements of the culturally rich 20th Century Town Dweller, the acoustic and celestial homonymous poetry, and the space-oriented Never Feel Shame, their first track leaning towards space rock. For the rest, a hard prog modeled on Deep Purple/Uriah Heep with some small debts to Genesis, Nektar, Moody Blues, and Yes. Indeed, keyboards (especially Moog synthesizers and Hammond organ) are abundant and often enthusiastically overshadow the always plentiful electric guitars. Many arrangements for orchestra and choral works were curated by Christian Kolonovits for a hard and symphonic rock at once, convincing and sincere.

Abandoning this successful formula, Omega fearfully embraced the style of Eloy. So, they stopped producing albums with good momentum; on the other hand, they had the merit of inspiring many rock bands of the former Soviet bloc, with the East Germans, especially Berluc, absorbing their "space influence" the most.