Meticulousness ensures singularity. Bad Omens carefullydirect each nuance of their music, approaching the process with an auteurmindset. The California quartet—Noah Sebastian [lead vocals], Joakim “Jolly”Karlsson [lead guitar, vocals], Nicholas Ruffilo [bass], and Nick Folio[drums]—explore the enigmatic idiosyncrasies of their signature sound on 2019’sFinding God Before God Finds Me [Sumerian Records], imbuing cinematicelectronics and gospel stature into metallic melodies.

Produced by Noah and Jolly, the ten-track trip unfurls likethe sonic equivalent of a gripping existential drama.

“What makes us a rock band is the fact we play instruments,but we’ve always been pretty experimental in terms of post-production,”explains Noah. “We dove after a specific sound without boundaries. Whatseparates us is the attention to detail in every song.”

Bad Omens diligently worked to hone this approach sincetheir 2016 self-titled debut. As the entire tracklisting tallied nearly 30million streams, the breakthrough single “The Worst In Me” leapt past the 8million mark on Spotify. Meanwhile, “Glass Houses” clocked 4.7 million Spotifystreams, “Exit Wounds” racked up 2.6 million Spotify streams, and “Reprise (TheSound of the End),” “The Fountain,” “F E R A L,” and “Enough, Enough Now” eachexceeded 1 million-plus on the platform. Along the way, they received looksfrom Alternative Press, New Noise, and Revolver and touredalongside everyone from Parkway Drive to Bullet For My Valentine and AskingAlexandria. Following Warped Tour 2017, the group commenced writing forwhat would become Finding God Before God Finds Me.

In addition to expanding the sonic structure under theinfluence of the Hillsong UNITED and other gospel production, Noah endeavoredto brighten up the thematic palette as well.

“The last record was so melancholic, sad, dark, andnihilistic at points,” he admits. “Before we started really writing the newrecord, I went through some things that opened up my mind and made me realizewho I wanted to be as a musician, what message I wanted to send, and thefeeling I needed to inspire. This is predominantly hopeful. There’s a sense ofunderdogs overcoming adversity. We should be a safe place for people. There’salso a musical feeling of uplifting catharsis. It’s not entirely happy or sad,but more so regal.”

This drove 2018 singles “Careful What You Wish For” and “TheHell I Overcame.” Fans immediately responded as the former generated 1.5million Spotify streams and the latter quickly neared 2 million. With Jolly aworld away in Sweden, they finished the record remotely, maximizing the time inbetween tours to cap off a panoramic vision.

The 2019 single “Burning Out” couples strains of piano andchoir with trudging distortion and a sweeping and soaring chant of empowerment,“I was lost, but now I’m found under the lights and in the sound.

“It’s about the impact music has made on me and how it savedme in a sense,” he continues. “It’s about my relationship with myself and musicand how I overcame my emotions and took advantage of this ability to reach abetter place. I wanted the lyrics to give you a sense of hope.”

Evocative of the experimentation, the album slips fromchoral elegance into a Spaghetti Western-style swing on opener “Kingdom ofCards.” The conclusion “If I’m There” climaxes on a beautiful reprise, “Wellif I’m there to catch you when you fall, you’ll have a friend down in hellafter all.”

“In some ways, it’s a love song,” he adds. “It’s also a songof forgiveness and acceptance, which is why it’s the end. I’m drawing a line inthe sand and forgiving. This is something I never would’ve done in our stuffbefore.”

By imparting a piece of themselves on every aspect of the compositionand production, Bad Omens deliver a statement that stands out.

“We just want you to feel something,” he leaves off.“Nothing in the world is stronger than emotion. It makes us human, gives ussoul, and separates us. We tried to make this album like a movie where itcaptivates you immediately, takes you on a journey, and gives you a positivepayoff.”