Oceans of Slumber are all about the pursuit of beauty in their art, every album overflowing with moments of transcendental frisson. Their music plunges to fathoms where most others fear to dive, daring the listener to swim with them. The songs aren’t bubbly toe-tappers; their challenges don’t come from geeked out prog equations, but from the depth and power of their emotions. At their best, OoS songs are moving experiences that will leave the listener a sad and wiser person.

Strong Nick Cave vibes here, plus a bit of Cowboy Junkies, Opeth, The Cure, aspects of classic Metallica, Led Zeppelin, Pink Floyd, Beatles, Jack White, Elliott Smith, Porcupine Tree, Draconian, Symphony X, King Crimson, Type O Negative, This Mortal Coil, Chelsea Wolfe, Elton John, Phil Collins (the darker sides of the latter two - - I’m not talking about fucking “Sussudio”). Everything begins with Dobber Beverly, the drummer and chief songwriter for the band. His piano is typically the genesis for each song, pulling in guitars, bass, drums, and vocals.
As for his partner in crime: how is it possible that the best professional vocalist working today is still getting better? You’ll think that statement is hyperbole, but then you’ll listen, and realize that Cammie Gilbert is truly peerless as a singer. She brings all kinds of power, like Floor Jansen or Brittany Slayes, but also channels the emotive depths and engagement of Roberta Flack or Adele. She’s always brought the hammer and the nuance - - live and in studio - - but on this record, she’s truly stepped up to a new level.
Oceans of Slumber have all of the components in place for a world-shaking pop-crossover. With their chops, their image, their songwriting, it would be a snap for them to ease back on the emotional intensity and generate watered-down crowd-pleasers. But to their credit, they refuse to compromise their integrity. If the mundane masses ever do acknowledge them with Spotify plays and household name fame, it will be entirely on Oceans of Slumber’s terms. In the meantime, they’ll be a cherished secret for those of us in the know. And don’t worry, there are plenty of us.
The great challenge with “Starlight and Ash” is choosing the best track. Album opener, “The Waters Rising” may be the most accessible; i.e.: the one you can play for your Pop music friends, but it’s still a dark and menacing masterpiece unto itself. So many of the tracks pierce the ribcage and leave your heart in tatters afterwards. I’m currently vacillating between “The Hanging Tree” and “Just a Day.” But holy shit, there’s also “Salvation” (That outro!). And “The Waters Rising” is just gold. For what it’s worth: “The Spring of 21” is the best so far of Dobber’s solo piano pieces.
“Just a Day” and “The Shipbuilder’s Son” are each in their own ways like spiritual sequels to “The Banished Heart” (song). I hear a lot more callbacks on “Starlight and Ash” to that 2018 record than 2020’s self-titled - - but their trajectory is clear. This is not regressive in any way; “Starlight and Ash” is another artistic leap forward for one of the most daring, innovative, pure bands working in 2022, of any genre. This is their best yet. Album of the year would seem to be settled.

“But is it still Metal?” you ask. . .

The vocal growls of past records are absent here. The high-tempo sections and blast beats are far fewer. I’m aware that people who care about genre property lines will gripe about the dearth of this-or-that Metal element on “Starlight and Ash.” Oceans of Slumber would seem to have no time or concern for those people. My advice: also don’t waste any effort worrying about labels of superficial definitions: just sink into these waters. Let Oceans of Slumber pull you under.