Indeed, Half Makeshift mastermind Nathan Michael's reasons for ending his musical venture all-too prematurely (make of it whatever you will) are his own reasons based on his own decision to do so. And we'll simply leave it at that. But nonetheless, you think it would seem coincidental, Michael's sudden actions that put an end to Half Makeshift, kind of seem reflective in the intimate and desperate nature of "Omen"; a reflection of the inevitable end. "Omen" is a devastating observation of formidable experimental ambient drone-like subtle mastery. With moments that reminisce with such like-minded acts as NADJA, SUNN 0))), GODSPEED YOU BLACK EMPEROR, and A SILVER MOUNT ZION, "Omen" is an opus of dense and flowing sonic terrain where cinematic sound visions create vast, desperate, and devastating scenarios, almost serving its purpose like a desperate doomsday soundtrack. From such scenarios as a blissful jaunt amongst a great ocean or a vast open field, to such disturbing yet picturesque scenarios where crumbling destructive frequencies envision skyscrapers falling and crumbling into the sea or an enormous tide crashing down onto civilization. Working as one 50+ minute track, but separated into four parts, "Omen" (mastered beautifully by JAMES PLOTKIN) subtly shifts through different emotions and feelings that create a general overall mood for the entire picture; a mood that can be quite soothing and comforting, yet at the same time virulent and uneasy, and ultimately eerie and chilling. Through incredible use of melody via light guitar strums and guitar ambience, melded with waves of static bursts, ivory key tappings that create the build-up that will inevitably come in the form of massive drone rumblings, "Omen" is an observation within such a genre that will bring more awareness to the wonder that is (the now defunct) Half Makeshift.