(Progressive Metal) [CD] Oceans of Slumber - Дискография FL (2013-2018), 3 CD, FLAC (image+.cue), lossless

Even as a pretty active listener, it's not often that I stumble upon an album that defies categorization as much as the debut observation from Oceans of Slumber. Entitled Aetherial
This early 2013 release could loosely be thrown under the 'extreme progressive metal' umbrella, but that does no justice to the sounds created by this young Texan act - everything from jazzy acrobatics and atmospheric progressive rock to lethal sludge riffs and frantic black metal is explored here, and Aetherial's ability to seamlessly blend these diverse soundscapes is breathtaking. The musicianship is remarkably tight across the board, and although the compositions are quite dense, Oceans of Slumber still crafts music that is highly atmospheric and even melodic. Aetherial sounds like the work of true professionals in every sense, serving as even more proof that great music is constantly being released without the help of a record label.
http://www.progarchives.com/

Keegan Kelly Bass
Dobber Drums, Composition, Engineering
Anthony Contreras Guitars
Sean Gary Guitars
Ronnie Gates Vocals

My first impression, though, was that Winter is a beautiful album. All of its diverse pieces are like differently colored threads in a motley arrangement of impressions and ideas. What holds the weave together are the smooth alto tones of Cammie Gilbert. Gilbert’s voice is soft, sultry and deep, but she can swell and fade and knock out moments of epic power (chorus/bridge on “Devout” – awesome). She rides the waves of emotional music and the different genres and she always comes out on top, echoing Åkerfeldt (“Turpentine”) or channeling Stayley (“Apologue” or “Sunlight”), or using a range and light touch at times, while contrasting it with emotional power that most metal vocalists dream of (“…This Road”). Even when the band breaks into its most extreme moments, Cammie is conspicuous in her absence. Her dynamic voice and approach work to unite the disparate weave and I’m not sure that Winter works without her.
Musically disparate, yes, but Winter is a cool record. Taken song-by-song, each one offers something unique and they’re all well-written. As a whole, it’s tougher going down. The thing that stands out for me after so many listens is that the album doesn’t quite feel cohesive. At 13 songs and 54 minutes, there’s a haphazard lurch to it. I can’t decide if this is a brilliant construction or the result of having a lot of good material, but more song stems than the band wanted to leave on the proverbial cutting room floor. This creates a whole which feels spotty, not connecting the heaviest and softest material, but rather just containing both within the same record. Opening track “Winter” exemplifies this issue. Nearly half-way through the song is the first time a new listener realizes the band has some death metal chops. And the rest of the album is kind of an ongoing tease; dangling excellent ’90s-colored melodic death with a distinctly Scandinavian flavor just out of reach. When blended just right, it’s excellent. “Suffer the Last Bridge” shows the band knocking out both a grungy ’90s rock chorus and a grindy, driven bridge in the same song—a weird, but highly effective, combination.
Of course, the heavier moments are interspersed with sublime a capella cleans like “Lullaby” or the instrumental “Laid to Rest,” both of which are like doodles in a sketchbook. So, too, “Good Life” and “How Tall the Trees” are interspersed between longer songs, with a piano solo “Grace” closing out the album. After a few listens I set up the track listing to be all the proper songs, followed by the sketches and the band’s excellent, but weirdly placed, cover of “Night in White Satin” at the very end. The album’s scattered feel is tough for me to immerse myself in completely. The interludes are beautiful but almost distracting, and yet all the ideas are so good. “Lullaby” makes my heart ache, and the melodies and harmonies in “Sunlight” put me in a rapture. This lilting ride pays off at the end, though, as “…This Road” is an amazing song. Like Diablo Swing Orchestra‘s “Justice for Saint Mary,” this album’s penultimate track (but probably should’ve been the closer) nails the drama and emotional climax that the whole album hints at.
When it comes down to it Winter is a beautiful enigma. Even frustrated as I am with the album’s flow, I’m enraptured by the material. The whole band—from guitarists Contreras and Gary, rhythm section Kelly and Beverly (both dudes, btw), and synth dude Yelsaeb—is obviously extremely talented and it shows through in their bursts of furious virtuosity which punctuate all the songs in one way or another. These exclamation points make me wish for a heavier album, where the band could flex those muscles more. But there’s so much to love here and there’s so much potential, too. Oceans of Slumber is a band that nails a unique balance and has the talent to do whatever they want. The strength of the whole band wrapped in the multifaceted vocal charisma of Gilbert makes Winter shine, and spring is coming.
https://www.angrymetalguy.com/

Keegan Kelly Bass, Bass (bowed)
Dobber Beverly Drums, Percussion, Bells (bowed), Cymbals, Synthesizer, Piano, Engineering (assistant)
Anthony Contreras Guitars, Guitars (acoustic), Synthesizers
Sean Gary Guitars, E-bow
Cammie Gilbert Vocals
Beau Synthesizers

Here’s one many of us at AMG have been waiting for with bated breath. Back in 2016, Oceans of Slumber’s excellent but flawed Winter made it onto a number of year-end lists, including AMG Himself despite his positively negative review. Needless to say, all of us were eager to see if the Texas progsters could tighten up in a few areas and push things a bit farther on their next release. Of course, being the pack leader, AMG asserted himself early and claimed dibs on this prized promo, but a quick call to Jeff Gillooly and the review was mine. Although after listening to this 65-minute personal journey at least a dozen times, I wonder if I’ve bitten off more than I can chew…
There is no instant gratification to be found on The Banished Heart. This is a dense and intense journey, spurred primarily by drummer Dobber Beverly’s marriage breakup and the birth of his daughter. The emotions conveyed throughout the album are overpoweringly personal, so much so in fact that not everyone will be able to connect with the feelings of heartbreaking loss, misplaced rage, or profound hopelessness that permeate the music. Yes, coming out the other end of this heartrending journey to find peace and love are also themes in play, but how much one can relate to these experiences, and join the band on such an intense road, will be the deciding factor on how much the album resonates.
Themes aside, Oceans of Slumber have cleaned up a few bothersome items from Winter, presenting us with tighter songwriting and a much more effective song sequence. On Winter, the band inexplicably chose to drop a cover song as the third track. On The Banished Heart, a beautiful rendition of the 19th century folk song “Wayfaring Stranger”1 wraps up the album in perfect fashion. After an emotionally exhausting hour, Cammie Gilbert’s vocal combined with Beverly’s atmospheric keyboard work and electronic percussion feels like a huge sigh of relief. Instrumental interludes are brief and effective, again offering respite from the barrage of emotions. And the breadth of styles and musicianship on display are often nothing short of stunning.
More doom than anything, but with plenty of the band’s trademark blast beats, harsh vocals that counter Gilbert’s fantastic, soulful range, and progressive arrangements, the songs here are all very strong. “No Color, No Light” is a tear-inducing duet with Tom Englund of Evergrey – and who better for depressing, introspective prog? “Fleeting Vigilance” builds in fury, harsh vocals screaming “Liar, manipulator, corroded from within, you watch as I die inside,” all culminating in a fantastic guitar solo. “Etiolation” and “A Path to Broken Stars” are the strongest tandem, the former with a thunderous beginning that rarely lets up, the latter with intricate guitar picking, and both with Gilbert’s beautiful vocals.
The Banished Heart doesn’t come without its own set of flaws, however. The first has already been mentioned: this is a difficult album to connect with emotionally. It takes patience and effort to fully engage – yes, it’s more than worth it in the long run, but won’t be for everyone. My main issue, though, is with Beverly himself. The man is an outstanding drummer, and his piano work throughout is poignant, and beautifully arranged. But there are times when he overdrums, most notably almost all of opening track “The Decay of Disregard.” As Robert Fripp once said to Bill Bruford, “if you want to play something in this spot, don’t.” Sometimes less really is more. The production, again provided by Beverly, is a prime example of why musicians aside from Steven Wilson shouldn’t produce their own work. Each instrument sounds great on its own, but oftentimes the rush of music overpowers Gilbert, and since she should be the focus of the band, when she sounds buried in the mix it makes it harder to follow along. Cleaning up the EQ of the rhythm section (and less drumming) would allow Gilbert’s lower register to shine through as it deserves to.
Much like last year’s Pain of Salvation album, it took more listens than it should have for me to “get” The Banished Heart. If you’re willing to put forth the effort, and approach this album with patience, you’ll eventually be rewarded. Oceans of Slumber have released an album that is grandiose and epic, poignant and brutal, extremely well-written and performed, and emotionally massive. It’s not the masterpiece we were all hoping for, but it’s damn good.
https://www.angrymetalguy.com/

Keegan Kelly Bass, Vocals (backing)
Dobber Beverly Drums, Piano, Keyboards
Anthony Contreras Guitars, Vocals (backing)
Sean Gary Guitars, Vocals
Cammie Gilbert Vocals, Guitars (acoustic)