release - oceansize - self preserved while the bodies float up

released: 6th september 2010
type: album

label: superball music

genre: progressive rock, alternative rock, post-rock

Oceansize are one of those bands who seem to follow their instincts musically rather than any apparent external forces or trends. They've been constructing progressive and emotionally charged rock music since 1998, and still sound as fresh as they did then. This their fourth album, recorded in their own studio in Manchester is their shortest yet by some distance at 51 minutes. It's effectively their pop album, if Oceansize are capable of making one.

It's not a pop album. 2008's Frames didn't contain any songs under 6 minutes, and while only two reach that length here it's not because they've toned down the progressive side of their music. If anything, the extremes are more extreme. While SuperImposer is gentle and intricately melodic, with opener Part Cardiac they give us their take on doom metal, Mike Vennart slipping into the role with frightening ease.

The differences between these first two songs on the album do give a good idea of the variation to come though. There are furious, fast-paced ones like It's My Tail and I'll Chase It If I Want To with its long heavy intro and backing screams from Simon Neil of Biffy Clyro. There are also slower, mellow songs which make use of Oceansize's ability to craft complex two or even three-part melodies from trebly guitars, like A Penny's Weight, with its muffled drums and occasional scratchy, delayed guitar.

The two focal points of the album are the two longest songs, which unlike the majority Frames don't rely on repetition or long instrumental passages. Instead they blend different styles to create an impressionistic effect much like Women Who Love Men Who Love Drugs from their debut, Effloresce. Oscar Acceptance Speech recalls Mew's latest effort with higher vocals backed by more bassy ones as they come in for a second time halfway through the song. This leads into an extended, understated string outro, offering a brief moment of sparsity on the record. The other longer track on the album, Silent / Transparent, opens with jangly guitars and a warm vocal melody that for the attentive listener signals something brasher to come. A long-held note at around the fourth minute brings some delicately distorted riffing that then slows the pace of the song completely for a build of uplifting guitars and tapping drums that, unlike the outro of Oscar Acceptance Speech, only increases in size.

Pine is a slow-burner, taking from post-rock with its siren-like strings and Mogwai-esque murmuring and developing into an utterly mournful, bruising finish of complex drums, romantic violin and distortion. It's a beautiful song, and segues unexpectedly but not jarringly into closer SuperImposter, which starts with a jazzy rhythm and low-key vocals, taking care never to fully unleash itself. It keeps a certain level of restraint throughout, using the guitars to offer a different rhythm from the drums. It takes a while to settle in, but proves the band are using everything at their disposal here.

While it's an album that could clearly be cherry-picked for great singles, it's uncompromising, working well as a complete piece much like their other, much longer records. They're simultaneously fearless in writing catchy pop songs and in taking their sound further with every record, which is quite rare, and very much welcome. Having said that, it's definitely an album that rewards repeated, careful listens.