Search - Oceansize :: Frames

SIZE OF AN OCEAN

Murat Batmaz | Istanbul, Turkey | 10/10/2007

(4 out of 5 stars)

"After issuing a set of EPs and singles, United Kingdom's Oceansize made a strong start with their highly acclaimed debut Effloresce in 2003 and backed it up with Everyone into Position two years later. Though there is no general consensus as to which album is more successful, it seems the opinions are based on the listeners' expectations moreso than the musical quality put on display.



In many ways, Frames evokes the denser, more detailed sound of Effloresce, in part because it was produced by the same engineer, Chris Sheldon. Unlike the Coldplay guy who worked on Everyone into Position, Sheldon favours a sharper production with more space. That, however, is where the similarities between the first and third albums end, as Frames sees the band expand on a more accessible soundscape than either of its predecessors. With the exception of track two, "Unfamiliar", the album forges its own path relying heavily on atmospheric depth and melancholy-inducing elements.



The aforementioned "Unfamiliar" feels like a leftover from their earlier sessions, given its brisk rhythm guitar attacks, alternative rock-styled vocal delivery which occasionally borders on aggressive onslaughts, and heavy finish, amidst a dense pool of wailing guitars and pounding drum beats. It is questionable how well this kind of aggression suits the otherwise mid-tempo-paced material on the album, one exception being "Sleeping Dogs and Dead Lions". However, the tracklisting of Frames deems it necessary for such a bludgeoning piece to appear between the experimental instrumental cut and powerful finale. This song unleashes a wave of dissonance, rarely heard on their other albums, and erupts into a bass-centred rhythm, underpinned by maniacal screaming, heavy drum syncopation, and violent, relatively more technical instrumentation.



The frequent incorporation of synths on some of the tunes has rendered them more spacey, particularly on "Trail of Fire" and "Savant". The former is a ballad-like anthem, focusing on solo piano; and a steady, powerful build-up with lofty acoustic guitars and whisper-like vocal manipulations. Oceansize creates an epic in the form of "Savant": it has a cinematic bent to it, sort of like a movie soundtrack. Driven by drawn-out instruments, mellow vocal lines, and cool percussion, the ending boasts an almost classically inspired coda -- it's truly beautiful.



Vocalist Mike Vennart gives a semi-spoken, semi-sung performance on "Only Twin", surrounded by shades of synth layers, and a tenacious, drum machine-like cadence. However, it isn't until the ten-minute instrumental "An Old Friend of the Christies" kicks in when it becomes apparent how talented this young band really is. The funereal acoustic guitars, doomy drumming a la early 90's British doom acts, and a lucid string element form the framework for the ambitious composition. Halfway through, three-part guitar melodies are filtered through myriad sound effects in order to create a thicker, heavier body. The way each repeated note grows to an epic-size monster at the end is testimony to their potential.



The first and last songs are in a way direct opposites to each other. The opener boasts overtly repeated guitar notes overlapping the big drum sound and rising to complex crescendos, whilst the title track, another ten-minute cut, is slightly reminiscent of Godspeed You Black Emperor with vocals. As the band produces strong melodies and sprinkles single-note acoustic bits throughout the piece, the vocalist's desperate croon works phenomenally atop the discreet keyboard line, not to mention the final guitar at the very end. Those who won't sit through the album patiently will unfortunately miss out on one of the most beautifully constructed melodies of the year.



With that said, and while wholeheartedly agreeing that Frames is bound to become Oceansize's breakthrough, I cannot help but think the best from them is yet to come. Once they continue to refine their songcraft with their huge creative range, more people will discover them. The addition of greater amount of post-rock sounds and progressive structures into their albums will surely culminate in more accomplished efforts in the future.



I personally was reluctant to check Frames out right away, having heard their previous two discs and evaluating them as "good but not great" albums. However, once I saw the album listed in Steven Wilson's playlist, I decided to give it a chance -- I'm glad I did. This is their best work so far, but they will surpass it -- they can.



(Please note that the promo copy of the CD that has been circulating around for a while is an unmastered version, and thus does not represent the full quality of the record. I highly recommend checking out the real version before forming a final opinion.)"

A beautiful journey

ELPsteel | USA | 02/26/2008

(5 out of 5 stars)

"At the beginning of 2007 I first heard about Oceansize when listening to songs on the internet radio site Pandora - Homage to a Shame came on and I knew I had to get something by this band. Their cds are rather difficult to come by in the States, so I had to purchase Everyone Into Position from iTunes - I fell in love with the band almost instantly.



Fast forward to now, after many repeated listens to Frames. At first, I didn't think it was as good as EIP - but now it's all I've been listening to. The songs on this album are incredibly subtle, much more so than in the past. 90% of this album is in odd meters or is polyrhythmic, yet I wasn't aware of that at first listen because of this subtlety. One of the things that make this band so great in today's music world is that they take the complexity of so called progressive rock, but only use it to serve the compositions and not their own instrumental showboating.



The spectrum of emotions running through this music is vast and deep. Songs on this album go in all directions, yet each is completely distinct from one another. Commemorative 9/11 T Shirt features a hypnotizing and somewhat minimalistic piano/guitar riff that builds into a fantastic climax, a style of songwriting that Oceansize has perfected on this record. Unfamiliar is probably the most active song aside from Sleeping Dogs - its main riff could be described as a cry of desperation. Trail of Fire is my current personal favorite of the group, with its beautiful, ethereal opening swirl of notes. This track is truly moving to listen to, especially when it reaches the end.



Savant is a serene landscape, reminiscent of Music for a Nurse from the previous album. The lyrics are especially notable: "where others float, you and I crash land." A string section ends the song, making it stand out even more. Only Twin is rhythmically among the most difficult of all Oceansize songs - a rhodes piano lays down a pattern in 3/4, but at a key point in the lyrics the band comes in in 5/8. Later in the song, vocals build to an emotional climax. An Old Friend of the Christy's is quite a different song for them, a sort of post-doom funeral dirge. Again, the band take their time in building on the same theme, but this approach definitely works - this song's grief is unrelenting.



The last two tracks are somewhat of a juxtaposition, proving Oceansize's musical and emotional versatility. Sleeping Dogs and Dead Lions is absolutely vicious. Its highly Meshuggah-influenced opening riff is the most ear-catching moment on the record, along with the piercing vocals. The song breaks down into a Disco Volante-era Mr. Bungle style section with strange guitar/vocal unisons, and really goes out with a bang - fans of A Homage to a Shame from their last album will really find something to love in this song. Lastly, the beautiful The Frame is the Ornament/Last Wrongs of the album, closing the entire work on a decidedly positive note. Its serene and patient solo guitar opening sound post-rock, yet this song does not proceed with the self-importance and unnecessary "noodling" that plagues so much of that genre.



As you can tell, I really can't say enough about this album. The emotions present here go through desperation, anger, determination, grief, hope, and acceptance. If you are going through a hard time in your life, no matter what it is, I think that this album can help you get through it - it's working for me. I can't find anything on it that I dislike.



Oceansize fans, if you don't have this yet, buy it before you buy anything else - even your groceries.



Newcomers, you'll want this, but you might want to get Everyone Into Position first, as it's more accessible at first than this album. But, if you're a patient and appreciative listener, this might just be the purchase for you.



Oceansize is one of the most promising bands in today's musical landscape. All of the members possess high technical ability on their instruments, but only use it sparingly and selectively. Their compositions are infinitely more thoughtful than most of their contemporaries, using subtlety and emotion instead of blazing solos and instrumental feats. Hopefully they will enjoy a great amount of success so we can continue to hear these wonderful new sounds."

Worthy of their name

J. R. Morris | Newcastle, Australia | 12/11/2007

(5 out of 5 stars)

"Amazing Album - if you truely love music, buy this album.



This is quite possibly the best album I have bought in some time. Unlike so many bands, Oceansize have not let the walls of the commercial music box confine them. Rather, they have created music as music should be. An expression - whether that be of emotion, musical/technical ability and knowledge or whatever.... just not a product to feed the mindless masses.



Oceansize are one of the few bands I have heard in the last few years that are trying something truely fresh. Why stick to 4/4 timing? Why not make a song go for as long needed to build suspense, amplifying the tremendous climaxes?



The daunting minimalized first 5 minutes of "Only Twin" are almost spine-chilling. Then the song erupts into a winding melody underpinned by a highly syncopated riff taking around 12 bars to repeat itself.



The drumming itself is a work of art in this album. Every stroke of Heron's sticks is planned, precise and appropriate - yet never coming across as boringly routine. The sheer complexity of their music, and thus Heron's drumming, could never allow it."