Like most, I’d never heard of Oceans of Slumber either, but the blurb I was sent said they had done a Candlemass cover, so I was intrigued enough to give them a listen. Now the aforementioned cover isn’t on this album, but luckily it was enough to get me to give them a listen, which all things considered, I probably wouldn’t’ve otherwise and I’ll be the first to say that I’m really glad that I did, along with the cover that is on the album being bloody amazing. This is the third release by this Houston-based sextet and stylistically they are all over the place, but trust me when I say that’s a good thing.
Opening the album with the title track “Winter” is a truly beautiful way to get things started. The light jazz drum brushwork by Dobber Beverly lets the gentle guitar picking by Anthony Contreras and Sean Gary accompany but never overwhelm Cammie Gilbert’s hauntingly melodic vocals. But as the nearly 8 minute song rolls on, Dobber begins to kick up a storm filled out by Keegan Kelly’s bass, while the guitars get far more aggressive as do the male death vocals, all the while Cammie carries on crooning away as if nothing has changed. It would be unsettling if the contrasts didn’t work so well together.
“Devout” is a completely different kettle of fish as Cammie ranges her vocals from soft and sensual to angry and berating as the guitars move from slow doomy power chords to black metal triplets with raspy black metal shrieks to go with them. The guitar lead though, it just flows…
Now we all pretty much know the original “Nights In White Satin” and while this is a touch faster with heavier guitars, it’s the finesse of the vocal delivery that makes this version well worth listening to.
“Lullaby” is exactly that, an ultra-sweet vocal performance where Cammie shows her mastery and the control she has of her voice and range, while “Laid To Rest” allows Anthony and Sean to show their skills with some Spanish guitars over Uaeb Yelsaeb’s Synthesizers on this instrumental track.
Heading into a far more rock orientated direction “Suffer The Last Bridge” appears to be the first single released from the album and quite possibly might lull a good few people into thinking they aren’t as heavy as they are able to get.
Piano, pan pipes and other ambient sounds make up “Good Life” which slowly bleeds into “Sunlight” with its slow guitars and emotionally delivered lyrics.
The ballad-like “Turpentine” is extremely bluesy with its meandering lead that wraps itself around every other facet of the song as it winds its way to the rather jazzy conclusion.
“Apologue” reminds me a little of Fear of God as Cammie spits out such venom while still sounding sultry while the death growls back her up and make the Immolation style riffing fit perfectly in place.
Another instrumental interlude in the form of “How Tall The Trees” is used to calm your heartrate before slipping you gently into “…This Road” as it carries you on its ever more rapid journey to its melancholy destination.
The final song “Grace” is the perfect way to end the album as it works the pianoforte to twinge the heartstrings in the way few other instruments are able.
Damned fine album here, as it wanders from silky smooth to rough and nasty as it rides its emotional roller-coaster. As stated above, I am so glad I gave it a listen.
(8/10 Marco Gaminara)
Leave a Reply