From Bandcamp, “OCEANS OF SLUMBER defy any and all convention. Since 2011, the Houston band have come to redefine the Southern Gothic by casting their tales of hope and despair against an ever-shifting backdrop of melodic death, doom and black metal, with subtle electronic flourishes and classical composition added for good measure. “Where Gods Fear To Speak” expands their progressive vision to the hi-def scope of a Hollywood blockbuster.” Being a fan, I always have to take my time with a review to make sure I am not biased. I remember quite well that their sound is as complex as it is emotional and much of their success is the balance that they find there. The new album has ten songs.

The title track is first, and I’ve heard it a few times. The Progressive leanings are more subtle, but the backbone is strong, and Cammie’s vocals are expressive as always. As a critical listener, and not just a fan, I question some of the connections between where the chords roam at times, as well as the nature of the harsh vocalist. The harsh vocals…are different. “Run from the Light” has an aggressive riff, a combination of clean and harsh vocals. It’s more linear and straightforward in terms of digestibility, but the emotional impact remains strong. “Don't Come Back from Hell Empty-Handed” might be the sound I was waiting for, as it is gorgeously crafted, mostly from keyboards and a smoother approach. It goes hard, don’t get me wrong, but the focus is on its fragile beauty.  

“Wish” is another beautiful offering that is easy on the ears, and it pushes a memorable sound for me. “Poem of Ecstasy” is an excellent song, and focus is rightly on Cammie’s vocals. The music is tender and gentle, and the clean vocals roar out at times, and are sultry and thoughtful at others. The transition to the darker side of the song with harsh vocals is sharp, angled, and unexpected, but that might be one of the things that the band does best…unsettle the listener. “The Given Dream” has an almost Rhythm & Blues swing to it, which makes sense if you knew the band’s history and influences. It’s a song like this that really allow the vocals and emotions to come through, and it’s an amalgam of styles that has come to define the genre, and the band.  

“I Will Break the Pride of your Will” is the third song in a row that has tender and pretty qualities, along with a strong melody line. The hardened elements are still there as a reminder of their might, but they keep them in check. “Prayer” has a darker edge with the use of minor chords and more aggression from the guitars and drums, and the harsh vocals seem better placed than in previous tracks. They can flip the switch before you can blink. “The Impermanence of Fate” has a very strong vocal performance that actually gave me chills, but another unnerving transition to a much harder and contentious sound. One thing that you have to be able to do as a listener is to consider the entirety of the song and not the individual parts.

“Wicked Game” brings the album to a close, and what better way to do this than to cover the massively weighted burden of a song that was written by Chris Isaak. Their take is personal, vivid, and every bit as good as the original. The listen just allows my day to sink peacefully behind me. What makes this band so interesting in my opinion is the complexity of their songwriting. They blend several genres together that, on face value, are difficult to synergize. At times, they border on the pretentious side, but what Progressive Metal band doesn’t? The boldest actions are the transitions, which can be startling, even unpleasant. That quality that they have captured seems to be the exact core of the new album.