Oceans Ate Alaska are set to release Disparity, their first studio album in five years, on the 1st of September. After reuniting with their original vocalist, the Birmingham quintet continue their sonic evolution with a fusion of lo-fi beats and crushing metal riffs. The Mic’s Sam Christelow reviews.
Oceans Ate Alaska have come a long way since their inception in 2010. With floppy hair and jeans tight enough to turn their feet blue, their early music videos showcase a straightforward metalcore sound, with just enough catchy emo choruses to nudge them towards the forefront of the UK metal scene. They soon diversified to include more technical elements, signing to Fearless Records and releasing their debut album Lost Isles in 2015. I vividly remember my first time listening to this record, jaw agape in my childhood bedroom as the polyrhythms and frenetic guitar work pummelled my ear drums. I was immediately hooked .
2017 saw the band change vocalists and release their second album Hikari, with the inclusion of more melodic elements paving the way for the innovation of Disparity. In a genre where it is common for bands writing anything other than the heaviest, most br00tal-I-want-to-smash-your-head-in-with-a-breeze-block riffs to be accused of ‘selling out’, it is a bold choice for OAA to continue to experiment with electronic elements and dreamy soundscapes. Does it work for them? I think so.
Keen listeners will not be shocked by this new direction, as 2020 single Metamorph foreshadowed this stylistic shift. Now slotting in as the third track on Disparity, Metamorph acted as a triumphant announcement of founding vocalist James Harrison’s return and a taste of what was to come with the band’s new sound. The rich background track takes clear inspiration from lo-fi music and is fused beautifully with OAA’s hallmark chuggy guitars and hard-hitting drums. I'm inclined to think that opening the song with a screamed ‘Did you miss me?’ is a little cliché for a first song back, for a metal vocalist of his calibre, I’m willing to give James a pass. There’s even a lyrical nod to the band’s #432crew fan club - nice!
Disparity opens with a brand new song, Paradigm, with another smooth soundscape giving way to plenty of heavy guitars and a ridiculous drum performance from Chris Turner. This song, along with Metamorph, epitomises what OAA are going for on this album; the change in dynamics between the metal and lo-fi sections keep the listener hyped up and wanting more, the softness contrasting with the heavy sections to make them feel even more brutal.
Latest single Nova is up next, a thunderous track with one of the strongest hooks on the album. Later, the band conjure up images of arena performances with tracks like Sol and Shallow Graves, the fourth song on the album. Gang vocals and woah-ohs punctuate the first half, before breaking into a clean section that makes me want to wave my lighter in the air - and I don’t even smoke.
Those looking for opportunities to headbang need not fear, as Disparity still brings a healthy number of riffs and breakdowns to the table. Second single New Dawn prompted some critics to ask if the band were moving towards a deathcore sound, and for good reason, as it is a remarkably heavy one. Clocking in at just 1:50 this track does not pull any punches - definitely not for the faint of eardrums. Dead Behind The Eyes, featuring Eric Vanlerberghe of I Prevail, is just as unforgiving in its brutality. Any memories of harmonious synths from previous tracks are swept away by a tide of distortion and hateful screams. Plague Speech follows straight after and is perhaps even more crushing, with the drums leading an absurdly slow breakdown which left me in disbelief on my first listen. Just before this section, Harrison asks ‘What’s a life worth living when our future is filled with dread?’. I only wish I knew the answer.
Title track Disparity comes in to give a lull in the album. As the shortest song at only 1:33 long, the relaxing guitars and almost jazzy drums give the listener a moment of introspection and a much-needed chance to scoop their brain up off the floor and pour it back into their skull: it could even go on your study playlist.
"The net result is fantastic, a must-listen album for any metalhead who can see beyond sacrificing goats and endless headbanging."
Closing track Hallucinogen polishes off the album with another lo-fi metal banger. Hallucinogen’s main riff repeats throughout the song and is one of the grooviest on the album. This is a fantastic conclusion to the brilliant journey of Disparity, with tender and melodious moments intertwining with some of the heaviest sections on the entire record. This is almost reminiscent of Fourthirytwo the intro song from OAA’s first album, which was designed to give a taster of everything to come. Hallucinogen provides the opposite, an unforgettable reminder of what you have just experienced.
The highlights of Disparity are undoubtedly the lo-fi metal fusion tracks, of which OAA are rapidly becoming masters. It's also crucial to note the input of collaborator/producer Clem Cherry, who produces the soundscapes for the band to write over. Drummer Chris Turner recently uploaded a YouTube video detailing Clem’s crucial input on this album, even going as far as to describe him as a secret sixth member of the band. Clem’s presence is felt strongly across Disparity, working with the band to create an incredibly listenable fusion of styles. The net result is fantastic, a must-listen album for any metalhead who can see beyond sacrificing goats and endless headbanging.
Hot off a festival run including Nottingham’s own Mangata Festival, Oceans Ate Alaska depart on the Disparity UK Tour 2022 with InVisions, Resolve and Kubrick from the 16th to the 23rd of September. Catch me in the pit at the Manchester show, I promise to leave some of your teeth intact.
Sam Christelow
Edited by: Caradoc Gayer
In article and cover images courtesy of Oceans Ate Alaska via Facebook. In article video courtesy of YouTube.
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