Blood Omen pushes everything further than ever before. The choruses are made for arenas, the riffs are taut, direct, and free of fat. It all makes for a grand musical stage on which the record’s concept plays out. ‘Forgive & Forget’ rushes in on a scalding lead guitar riff, while the epic ‘Nostradamus’ is a tale of the great prophet. The heavy, raging ‘Serpents Tongue’, meanwhile, deals with “deceit, and never knowing if you’re being told the truth,” according to George.

This motivation is written into the album’s concept. Following the theme of its two predecessors, the raven motif looms large, this time centering on the overthrowing of old masters, with the band’s Raven King character coming to prominence. Even in the artwork, things are bolder, a close up of The Raven King, says George, “taking his rightful place on the throne.”

To capture all this on record, the band enlisted the help of long-term producer Matt Hyde (Slipknot, Machine Head, Bullet For My Valentine) to lay down the album’s framework, before setting to recording the rest of the album themselves. The final mastering was put into the treasured hands of Mika Jussila at Finnvox (Nightwish, Children of Bodom, HIM).

Blood Omen is a record of several firsts for The Raven Age. With the metal end of the operation firmly nailed down, this time around the band were finally able to realise their ambitions of using real strings. Working with noted British cellist arranger Audrey Riley (Foo Fighters, Muse, Coldplay) at the ICMP [Institute of Contemporary Music Performance] studios in London. “Watching a quartet play along to our songs was a whole new experience,” says George. “They just made everything more dramatic.”