Oceans of Slumber's 'Starlight and Ash' - Album Review

As much as I love heavy metal, I will always be the first to admit that the genre - especially in recent years - does not always innovate as much as it could. I am sure that there are plenty of bands out there that are taking metal in different directions which I am not aware of, particularly at the more avant-garde end of the genre, but when it comes to the more traditional metal subgenres which I am generally into (power, symphonic, progressive, and thrash) I think that it is fair to say that there has not been a significant amount of genuine innovation for a while. This is not necessarily a bad thing, though, and there are still a lot of excellent new bands breaking through all of the time, but there is often a familiarity to many of these bands' sounds. When a band does start to do something different, then, it stands out - and I think that the latest release by the Texan six-piece Oceans of Slumber is potentially one of those head-turning releases. I first came across the band in 2018, when I saw them opening for Epica in Bristol. A rather muddy sound mix meant that I did not connect with them at the time, but I kept seeing their name crop up - so at the end of 2020 I decided to take the plunge and check them out properly. I picked up the band's self-titled fourth album, which was a few months old at the time, and listened to it quite a lot during the first few months of 2021. Oceans of Slumber was an album that intrigued me, even if at first I did not full appreciate it. I still feel that there is much for me to discover in the band's 2020 release, but the lengthy opus is one that has certainly made an impression. There was definitely a strong Opeth (both old and new) vibe to the band's songwriting throughout Oceans of Slumber, but what really drew me in was the hefty dose of soul and R'n'B that was mixed in. It was certainly a breath of fresh air, and I have since gone back and enjoyed 2018's The Banished Heart - the album which arguably broke them. You could say that it broke the band in more ways than one, though, as not long after the album's release many of the band members left. As such Oceans of Slumber featured an essentially new band - with four new musicians joining founding drummer and composer Dobber Beverly and long-time singer Cammie Gilbert. As such Oceans of Slumber seemed like the band reborn, and bigger than ever, but it seems as if the band felt that they reached their pinnacle with it. In many ways, they had pushed their progressive metal sound to its logical conclusion, which meant that a change was necessary. That change recently came in the form of Starlight and Ash, the band's fifth album, which was released back in July. Starlight and Ash finds a very different Oceans of Slumber than previously, hence my previous comment - but for those paying attention this latest album is not actually that far removed from their core sound. The soulful sound that has always been a big part of the band's sound is still here, and now dominates - and there is a strong southern gothic feel that has been intertwined with sounds akin to classic American folk music from the south. Oceans of Slumber have always taken influence from such music, but on Starlight and Ash it becomes the main focus. There is little genuine metal to be found here at all, save largely for a few heavier song endings, but at the same time the transition feels natural - as if this is what the band were destined for all along.

Whilst there are a few deviations throughout the album, generally there is a consistency of sound throughout. The opening song, The Waters Rising, is very typical of the album as a whole, and it certainly sets the tone for what follows over the next 50 or so minutes. Beverly's sombre drum pattern, and the distant synths of Mathew Aleman, open the song - with an ostinato piano motif soon joining the delicate fray, which Gilbert soon starts to sing over in her trademark soulful manner. Gilbert has turned in fantastic vocal performances previously, but this album is her crowning achievement to date. She sounds unleashed here, and she is definitely the focus of the band's new sound. There is little of the knotty riffing and complex instrumentation of the past here, and The Waters Rising is essentially all about Gilbert. Her sultry tones bring the verses, as well as the acoustic guitar-thickened choruses, to life. She pushes herself during a bridge and closing section which up the pace somewhat, though, and shades of the old Oceans of Slumber peek through here. Beverly unleashes a brief double bass drum flurry as the song closes, whilst the guitar playing of Alexander Fernandez and Jessie Santos add some additional crunch. Hearts of Stone is similar, but the ringing piano of the previous song is replaced by some dark-sounding clean guitar tones - adding stings similar to an Ennio Morricone film score. The verses are a great mix of Gilbert's excellent vocals and fluid guitar playing - before the synths swell, and the song moves towards a chorus which is somewhat heavier. There are actually a couple of big riffs during the chorus, which recall the band's last album, but they are not as in-your-face here - with the synths creating an unsettling sound, along with the booming drums of Beverly. The drum tones throughout this album are quite organic, adding to the album's overall feel, and Beverly's overall approach feels very old-school in general. A short guitar solo then essentially brings the song to a close, providing a brief moment of virtuosity in what is generally a fairly restrained performance. The Lighthouse continues on this overall feel, too, but it is a track that feels a bit more atmospheric. The drums this time have some effects on them which give them a distant sound, whilst the bluesy guitar stings, mixed in with lots of acoustic depth, create a bed for Gilbert's heartfelt vocals. Another brief guitar solo adds to the song's feel, and builds on some of Gilbert's melodies, but perhaps the standout performer here is Aleman. His synths give the song its distinct feel, and his playing is all over the track - adding a certain warmth. Red Forest Roads opens in a very low key manner, with some distant acoustic guitars that you need to strain to even really hear, before a mournful drum beat kicks in and the song is another heartfelt number - typical of the album. Of the first handful of songs here, though, this song feels more ballad-like than the others - at least at first. It feels as if it is going to remain a low key track throughout, thanks to its whimsical bluesy guitar motifs, but the second half is much heavier. Beverly's drums are much more aggressive, and there is a real percussive stomp to this part of the song - with some heavier-sounding guitars and more anguished vocals form Gilbert that contrast from the style she generally adopts throughout.

The Hanging Tree returns to the drum sounds used on The Lighthouse, whilst thick clean guitar tones perform a similar role that the piano did on The Waters Rising. The guitars provide a repeating melodic hook throughout, whilst Gilbert croons atop the atmospheric bed below - which again features lots of dense synths. There is something Anathema-esque about the way that the song gradually grows, and the subtle use of strings occasionally throughout helps it to stand out. The strings are not a focus, but the occasional gentle swell of violin and cello adds a grandeur that some of the other songs here do not have - and it helps it to stand out in comparison to the warmer, more folk-influenced pieces on the album. Occasional gentle piano additions only add to this feeling, too, creating a song that is very much at home on the album but that stands out a little, too. Salvation essentially segues from the previous song, but it returns to something more overtly-soulful. Guitar arpeggios and the occasional ringing chord form the basis of the song's music, whilst Beverly's drums give the song a somewhat sombre feel. My favourite part of the song, though, is what is utilised as something of a chorus. It has something of a gospel feel, with subtle vocal harmonies and a somewhat uplifting vibe despite the song's slower-paced nature, and it really highlights Gilbert's voice in a big way. This is reprised towards the end of the song, too, but in a much grander way. A choir is used during this section, who provide rhythmic chanting behind Gilbert's soaring performance - and it is easily one of the biggest-sounding parts of the album. Star Altar then comes along and ups the heaviness somewhat. It is the song here that most resembles the band's older work, with discordant guitar chords and a very Opeth-esque drum approach. Whilst the rest of the songs here (with the exception of one, which I will get to) were written by Gilbert and Beverly, this track was written by Fernandez. This perhaps explains why it sounds a bit different, but Fernandez has still managed to adapt his writing style to fit in with the band's new sound. In truth, the song is not that different style-wise, and there are still lots of low key moments and sombre piano melodies, but the heavier moments certainly hit harder here - with some of the band's old-school doom vibes creeping back in. Gilbert soars over these meatier riffs, and the song is one that reminds us that the band can still rock out when they want to - with Star Altar adding a bit of an edge to the album that would otherwise be missing. If to prove that such heaviness is now the exception rather than the norm, though, the delicate instrumental The Spring of '21 then moves in with its classically-inspired piano melodies that really shift the tone. Beverly is credited for the album's piano playing, with Aleman handling the synths, and this track showcases what a great pianist he is. He has generally been the band's driving force creatively and from a songwriting perspective, and this delicate instrumental showcases why. His playing is virtuoso level, and the melodies that he conjures up throughout are extremely heartfelt - and they hit harder following the relative heaviness of the previous track.

It segues into the next song, Just a Day, a lengthy piece that also opens with Beverly's piano. In many ways, The Spring of '21 feels like an extended intro to Just a Day, but Beverly's playing here is more restrained - which allows Gilbert to sing atop it. She generally goes for a somewhat deeper vocal approach, showcasing her soulful style, but she sings the opening section of this song in a slightly higher register - which gives it more of a sing-song, wistful feel. It showcases a different side of her as a singer, and is contrasts nicely with her more expressive vocal performance that debuts later - after the rest of the band crash in. This part of the song is another throwback to the band's older sound, with a doomy riff that rings out thanks to its heaviness, whilst Aleman's synths add a dense halo around everything. Strings are once again employed here, and some tortured violin playing adds an extra melody - often sitting behind and boosting the vocal lines. The song continues in this manner for quite some time, creating a doomy and downbeat atmosphere - but the pace is drastically increased as it moves towards a close. This closing section is easily the most upbeat section on the album musically, and the driving riffing and drumming gives the album a bit of a kick up the backside - if only for a relatively brief moment. The only other song which was not written by Gilbert and Beverly is up next, as the band decided to record a version of the traditional American folk song House of the Rising Sun - made famous by The Animals in 1964. In truth it is a song that I never really need to hear again, but if I ever do want to then it will be Oceans of Slumber's version that I will be reaching for. Given the soulful nature of the song, Gilbert really soars throughout. Her voice makes this version of the song stand out, whilst Beverly's delicate piano backing and the cutting violin melodies of Carla Kihlstedt back her up nicely. Kihlstedt's violin actually dominates quite a lot throughout, and essentially fills all of the gaps between Gilbert's vocal sections. There are a handful of brief violin solos throughout, and they elevate this version of the song above essentially all other versions - especially when combined with Gilbert's excellent vocal performance. The album then comes to a close with The Shipbuilder's Son which, after a handful of slight deviations from the album's core sound, returns to the style of song that was featured during the album's first half. Dark guitar melodies and Beverly's booming drumming ensure that the song is slightly heavier than many of the album's early cuts, though, and this approach helps the album end on something of a bang - or at least as much of a bang as this new sound allows the band. It is quite a dynamic song, too, with sections which leave Gilbert singing alone alongside Beverly's piano, whilst other sections feature a much more expansive sound - with ringing guitar chords and the soaring synths of Aleman. It is another standout cut for me as a result, and an emotional chorus that easily gets stuck in the brain ensures that the album ends on a high. Whilst I have really enjoyed the band's previous albums, I feel like this is where Oceans of Slumber want to be - at least for now. Who knows what they will do going forward, but they have shown their diversity and willingness to push metal boundaries with Starlight and Ash. They could easily have done more of the same, and could well serve us up a raging doom metal album in two years, but if they decide to stick to this path then I think it would serve them well. They have the songwriting chops to pull it off, and the voice of Gilbert really shines against this sort of warm, folk-influenced backdrop.

The album was released on 22nd July 2022 via Century Media Records. Below is the band's promotional video for The Waters Rising.