Dobber Beverly and Cammie Gilbert of Oceans of Slumber

Date: 6/18
Interviewed By: Jack Mangan

I had the opportunity to hang with Dobber Beverly and Cammie Gilbert of Oceans of Slumber before their show at Club Red in Mesa, AZ, in June of 2018. They were not afraid to get deep and reflective in their interview. See below.

I met the other band members, Matt V. Ale, Anthony Contreras, Sean Gary, and Keegan Kelly, later on. They were all gracious, funny, hard working, good guys - - and they put on a hell of a show. Check out the MetalAsylum.net concert review at: http://www.metalasylum.net/concertreviews/2018/cr1806.php

MA: Where do you feel the growth has been from “Winter” to this album?

Dobber: Well, with "Blue" being her debut - - “Blue” was kind of a project to do something until “Winter” came out - - “Winter” was a record that we'd pretty much finished when she came on board, and it was a collection of songs and eras. “The Banished Heart” was conceived entirely in one span of time, so it was like purpose-built. So whenever we were asked to do a record. . . we were gonna try to tour last year, but with our personal stuff - - and the flooding in Houston, last year was a wash. So when we were asked to, uh; instead of focusing on trying to tour again, to write a new record, I said, "Yeah, we're totally good to write a new record, because I've got a direction, I have a lot of ideas, the guys have a lot of fuckin' riffs, I have riffs. We got a record. So musically it was like just this cohesive movement toward this moment in my life.
The guys - - Sean and Anthony primarily; it's Sean and Anthony and myself that write all the music. So atmospherics and weird stuff - - Anthony. Atmospherics and Classical and Doom shit - - me, riffing, like a lot of riffing - - Sean, he does a lot of that stuff. But once we finished a lot of the framework of the record, like all the musical demos, I sent ‘em to her. . . .well, she was living with me, so I didn't really send em. . . I'd be at work. She was transitioning to a new field of work, so she was sitting at home, and she started cranking these demos out, and the fucking demos were like, fucking insane. I knew the music was good, and I knew the songs were gonna be good, but I had no idea that she was gonna do what she did. You know, everything to do with the vocally, she did. She didn't have any help, there was nobody telling her what to do. It was all her, so it was pretty incredible. So the record for me was a massive step up from “Winter.” Obviously I love “Winter” as a record and I love songs off of it, but to me there's no comparison. Like, this is more streamlined, and I realize it branches out further, we didn't do as much Fusiony, Jazzy stuff on this record - - and that doesn't mean it's gone, it's just, it wasn't for this record. That wasn't what we were supposed to be doing. What we were supposed to be doing was chronicling a heartbreak and depression, and hopefully, rebirth. . . but what does that mean? Shit doesn't go away, you gotta learn to deal with it and it manifests in other areas.

MA: I'd said in my review that this is a great album, but what Cammie does just drives it into the stratosphere. It's just amazing vocals. Cammie, I don't want to ask questions that every other media asks you, but tell me a little bit about your vocal background. Where did this amazing talent come from?

Cammie: I grew up in a very musical household. My mom sang to me every night. My dad, we had a studio in the house, so it was just a default setting for how we operated, to have some sort of music or singing involved. I did choir here and there throughout school, but it was never really serious, it was more just kind of a homegrown thing (laughs). And I guess I didn't realize i did this well until I got a little more out there with it. Just I guess, different sort of exercises and practices.
Hearing him go over stuff or write songs - - my dad - - incorporating that into - - I love to sing - - I would throw something onto the radio and I'd have to get it exactly right; I had to mimic it or do a vocal trill and get it exactly the same. So I guess I'm kinda self-taught.

MA: Perfect segue. What are your influences as a band? What do you hear in your own music and your own playing?

Dobber: Hmm. I mean honestly, I guess it's like interpretations of stuff we listen to, but pretty much what we write is just kinda like feelings to music. Sometimes, we'd be in songs like "At Dawn" and it's a Death Metal song with her singin’ on it. It's purposely written from our backgrounds of us playing in Death Metal bands and all that stuff. And it was meant to be like a violent song. Kind of a "bad day, dead in the morning" type of thing. But also harness these other elements, everything from TX Death Metal bands and NY bands. But mostly we write out of scenes or cinematic landscapes. That's how we do everything anyways. It's like describing pictures or trailer sections of a movie. Brief glimpses into a bigger picture. So while we have a lot of crazy varying influences, we try not to let too much of that stuff creep in. Like if Sean is really into Soilwork and old Sepultura, we don't really venture into that too much. Obviously the influence over him is there, because that's the kind of stuff he loves and writes. We're kinda mutually into Crowbar and the southern Sludge stuff. For her, it was one of those things of like kind of hearing, I grew up with like old Country music, Doo-Wop, Motown. . . My dad's 76, so I grew up with everything from the 50s and 60s. And I started branching out on my own pretty early, i was like 9, started listening to Metal with my cousins, but because of Motown and R&B, i'd always been drawn to ballads and slow soulful music. Fastforward 39 years and I don't see the difference between these Soul love songs or these sad R&B songs, especially the ones from the 60s and 70s and Doom Metal. It's got the same cadence and roughly the same keys or chord progressions, and it's got an incredible vocalist over it. And we haven't morphed that into Metal in a way to reinforce that and strengthen that. So when I saw her for the first time singin’, I was like, if she's interested, this is the way. This is what I wanna do. I wanna bridge these gaps, and finally bring this part of soul music - the voice - into what we do. But obviously she had to be into the type of music. She liked Rock, Alice in Chains and Soundgarden and all that shit. She liked some Metal, but her mom was a Jehovah’s Witness (laughs), so she was like this untapped Metal person. And I would send her playlists and shit - - and this was before we were involved in any kind way, just like professional to professional - - and I was say, like, “Here's this band The Gathering; what do you think?” And she'd say, "Oh wow this is really cool." And I'd say, “Here's The Gathering with the new singer, it's a little more ambient and atmospheric,” and she was like, "oh, this is really cool too." So if you like these, then I'll branch off. And so then I just started feedin’ her this music. Because we were gonna do a side project. But then our vocalist quit. And I told the guys, "what do you think about getting Cammie to sing for us?” Some of the guys were like no, just no, not at all. And I kinda looked at them like, well. . . and then I sat on it overnight, and then I was like, “You guys, your votes are out, it doesn't matter. She's gonna sing in the band. If she wants to do it, she's gonna sing in the band, I don't care what you wanna do.” I was strongly leaning toward this from the get-go. Whenever the band started, I wanted a female vocalist. So when we did our first first record, “Ethereal,” I wanted a female vocalist. Because I absolutely loved that era of the 90s with The Gathering, and even like with Lacuna Coil and stuff like that coming in, but bands like Celestial Seasons that had a woman's touch in the band. If we bridged this brutality with this stuff, I thought it would be cool. And here we are suffering through the United States so we can tour. . .

MA: Obviously, the experiment has paid off, and your perseverance has paid off. Do you have anything to add to that, Cammie?

Cammie: No. (laughs)
Dobber: (laughs) She's not real talkative, that's what people don't understand about her.

MA: That's cool. No worries. I only have a few more questions. . .

Dobber: Nah, we can talk as long as you want. We haven't talked to other people in awhile. This is the first interview this tour. Which is really weird for us, because normally we're interviewing every day, but that's in Europe.

MA: So what are some of the differences between touring in Europe and the US?

Dobber: When we go to Europe. . . ok, so. . . to not sound weird. . . in Europe, we're treated like . . . . you might think we're treated here. And here, we're not treated like that at all. So here it's just kinda, "here's some waters. . . . "
Cammie: It's a little bit like everyone's local. Maybe that sounds condescending, but there's no preparedness for a touring band to come through, especially if they're international. There's no different prep if a band is coming from down the street or overseas. The difference is moreso on the back end. The crowds are phenomenal. The crowds are just as eager and engaged, and that's been a surprise to be as similar. The venue sizes fluctuate, but the people size in them fluctuates, and not like you'd expect. We played at this really small venue with this really tiny stage, and it was more people than at some of these other shows, and they were really packed in there.
Dobber: The U.S. is hard for a band like us. The bigger mainstream magazines won't touch us. Cammie: You're stuck at a middle ground. I feel like When we're at home, we do a local show, or even like a shorter run, like we went to NY for the release, it's geared a certain way. And then you're in-between if you're not like arena level, or the Compaq Center kinda thing, then the in-between can be hit-or-miss. It can be a little bit more straining and harder. It's like being 13. You're not quite big enough hang out with the high school kids. You're not little anymore, but you're not like an adult either, and you're like, "Aw fuck, what can I do?" And that's what it feels like right now, on this tour.

MA: Switching back to the music, one thing I wanted to touch on, you guys did something that was almost sacrilege. . . you did a cover of Led Zeppelin's "Kashmir," which you're not supposed to do - - but you nailed it! What I'm getting at - - you’ve gotten some notoriety for the covers; how do the covers fit into your overall view of yourselves as a band?

Dobber: Well, I listen to a lot of records, a lot of music constantly, and I've been wanting to redo “Kashmir” for like 15-20 years. I have an old Texas band called Infernal Dominions from the late 90s, and we were gonna redo “Kashmir” the way it's done now, except with Death Metal vocals, roughly - give or take. “Kashmir” was actually my pick for what was on “Winter,” that turned out to be (a cover of) Moody Blues - “Nights in White Satin.” “Kashmir” being a little more obscure and scary, a lot of people were were always like, "Well, how dare you. . . great job, but how dare you?" And we wouldn't have took it on if I didn’t think we could. It's not even about adding to it. It's just one of those songs that you wish you wrote, and it's such a good song that you want to play it - - and that's how I look at music or interpretations. It's not about trying to play somebody else's song for the sake sake of being cool, like "I’m gonna play this." You know, doing the Candlemass cover was the same thing, and it was a strategic thing. But it wasn't a strategic thing like "hey look at me," it was a, if anyone would check it out, "hey young people, look at Candlemass." And that was so weird about it, it came from a super honest place. And it was funny, you know, because some people got on us; the Metal community is primarily white, and some of our first neanderthal racist comments were on our Candlemass cover.

MA: Oh my god. . .

Dobber: Well yeah, you know, it happens. That's just gonna be like that. Stupid people say stupid shit. We all say stupid shit sometimes, and that's really stupid. And so we release it, and everybody's like, "Oh wow. You guys did Candlemass, AND there's this black chick singing it, and wow this is like really cool." And it's twofold, The media outlets might pick up on this and be down with it, and that's good for us. and if it’s successful, then it links me to people I look up to and I enjoy. So it's a tribute to them. Y'know, I love Candlemass. And on the bigger picture, it drags “Epicus Doomicus Metallicus” back up, and maybe younger people start getting into some of these old records that they pass over, cause you know, it's a great record. It was the same thing with “Kashmir.” I wanted to incorporate these Indian Ragha style elements, and our guitar player Anthony is a brilliant guitar player, and he can do pretty much anything you can ask musically, and he can interpret things and he can add to or embellish, and I was like hey, let's do this expanded version of “Kashmir,” like the live song from the VHS they did. And so when we took it on, I wanted to do it live, I wanted everything about it to be as real as possible .Cause we don't do anything that's not live. We don't do the backing tracks, we don't do the click tracks, we don't do any of that shit. It's a band full of competent and capable musicians and we're gonna act like it. And so with that whole release, “Kashmir” was one of the holy grail blasphemies. We got bitched at about “Nights in White Satin” too. People were so pissed off about the sequence of the album. It's like "how dare you put a cover so early in?" and I'm like "it fits the storyline, stupid."

MA: Let me tell you how do your band and how to do your thing.

Cammie: (laughs)
Dobber: Oh, we get a lot of that here in the states. They love to let me know how I chose the wrong sequence, or I coulda cut out parts of songs, or some of the interlude music. I'm like, "Cool, thank you. Let me hear your record. Let me see what I think about it. I think you could have done this better." It's a conceptual piece. Don't tell the artist how to do a conceptual piece. And we're the artist, so fuck off.

MA: That blows me away.

Cammie: (laughs)
Dobber: If you put it out there in the public domain, that's what you're gonna get, it's part of it. It's fine. Even us laughing off the racist comments thing. We put our feet out there, and it's there. It can be a sore subject because it's fuckin’ stupid, but it's also something we have to deal with. She's not a little girl, she's been black her whole life. This didn't start when the band started.
Cammie: It's like, oh my god, I'm black? Oh no!

MA: It's still bullshit! So let's get back to “The Banished Heart,” a little bit. You touched on this a bit, but I want to give my reaction and see if it's what you're going for. To me, there's a little bit of rage, but I get lot more of the heartbreak, and a lot more of the pain, but I also get a bit of the love thing. And just for our readers, I'm sitting here, and Dobber and Cammie are holding hands, and it's beautiful (laughs). But anyway, is that the reaction you guys were going for? Do you feel like there's more to it?

Dobber: Ummm, not really, that's the gist of it.
Cammie: There's a lot of emotions at play when we were making “The Banished Heart,” and I'd already kind of accumulated a lot of different writing. When you go through life you're not experiencing one emotion at at time, like “today’s all about angry, and today's all about. . .” You know, it comes and goes and i's more like a kaleidoscope of colors, versus it being like a spectrum or a rainbow, and it's fireworks. It's a big jumble of issues all at once. And so when we move through the album, it's not just central around one emotion, so there are these different speckles or these different glimmers of these different things. While there's a lot of rage and lot of loss and heartache and heartbreak, there was a lot of love overturning things at the same time, and so that couldn't really be left out. And maybe that'd just come up in what I'd written anyway. I try in the moment to write things as they come into my head. I keep a lot of notes and journals and articles of paper with things written on them, and I'll remember them when I get a song, and I'm sitting there with it and it reminds me of that thing I wrote, and I go find it to see if it still fits. Or pull in these new parts, or it inspires something completely different right in the moment. And it think it’s nice if that stands out, if that's underlined, because if you make a song or you make art, and you make it too much of one thing, then it can maybe bombard people or it can drag them down more, when it should kinda have some kinda foundation that can be comforting or helpful versus just straight "everything sucks, die."
Dobber: I think the title track is kinda all about that - - (at this moment, the lights go out, and we're in the dark. We continue the conversation by cellphone light).
Dobber: Well, before we move on. Talking about the these or the feeling that you had with it. It's simple, and it is really accurately perceived. The title track - - the whole record was written around the title track. I'd been fuckin’ with the melody for that for like 2 years. It's pretty much the time that we. . . about a year into us jamming together, um. . . the problems that I was having with my ex, who I was with forever, we were kids together - it's like the thing that you'll get repeatedly told if you're with somebody a long time, since you were young. "You were young when you got together, you didn't know what you wanted, neither one of you. You were young when you got together, you didn't know that you needed this. She was young when you got together, she didn't know she needed that.” So we were like, eventually, just two completely different fuckin’ people that wanted two completely different things. And the complication is that we had a kid together, and I'm incredibly family-oriented, so I was like, I want to make this happen and work. But you can't force a diamond out of something, you know, that's just not how that works. Sometimes you just gotta be the asshole, or you gotta be the person that walks away from something. So there was a virtual walking away during the time post- “Winter,” into touring and then the full year - - what was that, 2016? Yeah. The band was getting busier, we were hanging out a whole lot more because of band stuff, and we just connected and clicked. It wasn't connected, like "Hey, you're hot or something (laughs)" There was a connection that was there, and it was like, basically, my spouse was just like her ex-spouse as a male; we had the same people in our lives, and it's like the revelations have, and we're the same and they're the same. They didn't run off and shack up - - that would have been too poetic then, wouldn't it? And I wrote this song, and I sent it to her one night, and I was at home with my person and she was at home with her person, and I was all like, “Look I don't know how inappropriate this is or not, but I wrote this piece of music, and I want you to check it out, and it's the theme for the first half of ‘The Banished Heart,’” and she was like, “This is beautiful, it's making me cry,” and I was like, “Well, I wrote this for you. I don't know what else to say. I just gotta put this out there.” And it wasn’t a come on or anything, it was just how I feel about us and you (to Cammie) and you and your life, I think about you a lot. And, so I wrote this track, and I kept working on it and working on it, and I would be at practice, the guys would be hanging out, and the bass player's bitching about me fuckin’ playing it all the time, cause I 've got versions of it, and there's new stuff that's added, and he's "We gotta listen to this all the time?" And I was like "Fuck you, this is the theme of the whole new record. This is the title track and this is the theme, so you're gonna hear it a lot more.” So I demo'ed out the whole song - - just those 2 pieces that were meant to be together, that's why the song is so big and long. And during all of this, she'd sent me all of her writing stuff. She'd been writing the whole time.
Cammie: We had a shared Google drive.
Dobber: Her thoughts on stuff, things that were going on, because of these songs have something to do with those periods in time, that's why they're really personal songs. So all the rage is about specific things, and all the fuckin’ admiration and admonishment, all that stuff is different, and it's for different eras and different people. And I'd sent her a bunch of shit that I'd written, and one of which was this letter to myself type-thing, and it was me trying to explain to me also, for my wife's sake, and she was all like, "Oh wow, this is pretty intense," and we just kinda wound up framing that up and using that as the lyrics for “The Banished Heart,” the first half. So it's like catharsis, in a way. It's really personal thoughts, and that is the lyrics to first half of it, until she says, "I found you in the darkness," and that's kind of the call. It's like seeing somebody alone in an empty room, and observing this the whole time, and "I’ve found you in the darkness," and it's like the coming together of these two things. But the second half of the song was about my kid, and her being born, how it kinda redefined everything that i'd thought up to that point. What I thought I knew about love or how I felt about what love was, or how much I could love somebody, something, and with that it was, changed completely. I mean, you know this - - you got kids. And so with her being born, it was like, oh wow, there's a different kinda weight in my chest. Things changed a lot, and then that just helped me see also how different that her mother and I were, and so the second half of the song, it's like this Lion King-esque moment, you know, where you're holding the child up, and there's this love that you can't deny, and it's just power that fueled everything around you. It's like an atomic bomb going off and the fallout's immeasurable. And so she wrote that, and I was like, "That's perfect. Everything about this is perfect." And so that's why the central theme of the record is, it's about love, and it's about the destructive natures of it as well as the protective natures of it. Love can mean a lot of things. I did an interview, and the girl was prodding me about stuff, and I was like, "This is our record about falling out of love and being crushed and feeling in this dark, intimate place. It's about the maneuvers trying to do the right thing, making you having to do the wrong thing. And not being a person that's happy about that, regardless of where I am, doesn't mean i was happy about hurting somebody in the process of getting there, regardless of how I felt about them. And that's pretty much where we are, and we put that to a record and we put it out, and that's dangerous. It's dangerous for us personally, because we have to like, deal with that and relive it, and it's dangerous for us, business-wise, because people don't release records like this anymore, not really. People do, but it's not the popular thing. And so, off to the U.S., and everybody wants angsty, aggressive, fun party music, and it's like. . . we're not a good time. We're an event, we're a spectacle. You go to watch a show, not to jump around and sling beer everywhere. So we played 16 shows of people standing dead still watching us play a show. And every show ends with some handful of people in the front row crying cause we end with "No Colour, No Light," and so by the time we play that song, and people see that it's this real thing, this very real thing, there's always people crying about it. And it's a good feeling. And then people come up and tell us stories about how they've connected with the record. A girl last night come up and told about her dad had died, and he used to take her to the venue all the time.
Cammie: And she hadn't been there since. It had been 3 years. She really liked our band, and- -
Dobber: She loved the record.
Cammie: And she was kinda torn, and she just decided to come. And I thought it was so ironic- -
Dobber: Really intense.
Cammie: Because it's like a lateral. . . it's a variation of how I feel about it, and it's something very similar that I went through. When my dad died, we closed his studio, we left it exactly like it was and we didn't touch it for years. We left everything on, which burnt out several pieces of his equipment, but, it's like we just froze in time. And I didn't pursue music, I didn't do anything with music, I didn't really sing, and it was just like shut off. And for her to come tell us that and be teary-eyed and how much it meant to her, it's like, that's perfect, that's good, and it helped. That's a growth moment. You have to sort of face these fears when people pass away and leave you with these lingering feelings. I feel like it's a confidence building - - or it's a good step for her to have gone back there to kinda embrace the memory versus run from it. And so it meant a lot, and it means a lot. We do this and we come across these sort of experiences.We definitely don’t take what we do lightly, and we don’t take the kind of music that we create lightly. And it means a lot for us to leave home to do it, and so, if it can at least mean that much that sincerely to other people, then it makes it that much more worth it to do what we do, and the sacrifices that we make to come out on the road. Cause it’s not. . . I would say that “fun” is not really the word I’d use to describe it, but it’s important.
Dobber: Well we’re here, and we have the opportunity, and we can’t not do it. Would we rather not? Probably, most of the time. Cause, again, we’re not playing like fun stuff. So when things don’t go right with whatever, technically or within the band or something, it’s a lot harder. And to note that girl last night, she was by herself too, and that was intense. It was a weird moment.

MA: And what a connection for you guys. That’s amazing. It must feel great to know you’ve touched this person so much, especially with your own connection that parallels that.

Cammie: Absolutely
Dobber: It’s brutal.
Cammie: It means quite a bit. And my mom, when this tour first started, she . . .she knows a lot about how I am - - I mean, she’s my mom and we’re very close - - and she knows I write these things, and she’s like, “You made this album very personal. Are you doing all right performing the songs every night? Is it more healing, or is it more like you’re reopening a wound every night?” And I was like, “It depends on the night. Sometimes it feels healing or releasing, and then sometimes it feels like, “Oh, remember that thing? (laughs) And you’re just in it, and you’re like, “uhhhh.” So it’s hit or miss when it comes to what it does.
Dobber: Well, when we went to Europe, it was the first time we were playing this shit live, and she was fuckin’ bawling onstage every night.
Cammie: I was not really mentally prepared for how it felt, because we just hadn’t done these songs live.
Dobber: It was brutal. And people were losing their fuckin’ mind too when they were seeing it.
Cammie: And I see them. . . and sometimes people know the setlist, or they know the song is coming or they recognize the song, and they’ll get teary-eyed first or they’ll get upset first. These songs mean so much to people. It’s fascinating and it’s amazing, and it’s good, that’s what they’re there for. It’s like, you can take a song anywhere with you, that’s what my mom used to tell me. It’s like, if I was somewhere new and I was scared, or if I as anxious about something, or I’m away at school and I was missing her, she’d be like, if ever we were separated, I could always have a song, and I could sing that song and it was like this little piece of something that doesn’t take up any space. And we go to these places and we’ve made this music and it’s like this little keepsake now that people can have and take with them and they do. And so then when they come see it live, it’s like you kinda go refill your bucket at the well, but it’s intense and it becomes this circle of emotion sharing, but they’re intense emotions. So I feel bad for making people upset (laughs), but then at the same time, it’s like, well you knew what you were coming to see.
Dobber: In Salt Lake City, I met a like-minded Metal person, older guy, same type of outlook and sense of humor. He was like, “Yeah, I only came to see you guys. I’m super into you, I found y’all by accident.” He did not look like our normal person, he was a Slayer and old Death Metal type guy, which is a type of person, so it works out. (laughs)
So we’re talking, and he says, “I was really stoked to see you, it was a good show, and I’m so glad y’all played, and I’m glad you came to SLC. But I’m glad you didn’t play ‘The Banished Heart.’ I woulda cried like a little girl if you played it. I can’t even be in the same room with that song without crying.” He told me he had some custody stuff and kid stuff earlier in his life, so it was like a real connected moment for that type of thing. And that’s the message I get a lot, the dads with kids. I get hit up pretty often about this stuff. It’s cause of me and my daughter in the video, I think; it fucks with people a lot.
Cammie: Yeah.
Dobber: We were a little apprehensive about putting it in there, but when we were making the video, it was just like, let’s go all the way. We’ve got no budget, we’ve got friends who are professional cinematographers and they’re down to do all this stuff; let’s build this big epic video, and we’ll figure out what we can figure out. And I told them I want to use some home video footage, and I want to put it in there, because the second half of the whole song is about my kid anyway. So we’re sittin’ at the piano in the video, and I was like, perfect, we need to use this, I want to use this. I want to use this now, before I decide we can’t, before I’m like, it’s too personal, it’s too much. And it is an uplifting song. . .
Cammie: There’s a lot of hope in that one.
Dobber: We were sitting at the house right before we left, and our cable had gone out, and our wi-fi was off, and we had the stick with the proofs for the videos on it. And it’s late at night, and we have this ritual with my daughter where we watch an hour of TV for quiet time to watch kid appropriate stuff, and there’s nothing on, and she’s like, “What about quiet time with sorbet?” And I was like, all right, let’s watch the video. And she watches, and she says, “All right, it’s the Daddy Cammie band!” And we get to that part, and I was like, “You’re in the movie!” And she’s like (whispers), “I didn’t tell my teachers that I wasn’t in the band.” (laughs)
Cammie: (laughs): “They think I’m in the band.”

MA: She needs to be credited as one of the members of the band.

Cammie: Of course! (laughs)

MA: She needs to be credited as one of the members of the band. MA: Well, you guys do not disappoint. Although the music is so deep, I wouldn’t expect anything else. . .

Dobber: I’m a pretty serious person. You want to take life seriously. You want to have fun, and have a good time, but you want the quality of that time to be good, and that means the quality of the people around you needs to be good too.
Cammie: There’s a lot of forced fun that can happen, and definitely when it comes to touring and musicians, people want things to be fun and they’re not. We’re not like that, we’re not trying to force the fun. If it’s a genuine laugh, it’s a genuine laugh. If something is bleak, it’s fine too. Funny is not always the objective.
Dobber: We’re both into psychology, and she’s got the degree.
Cammie: I’d rather watch other people have a good time than join in.

Official website: https://oceansofslumber.com/