If there is a constant in the career of the Texans of Oceans Of Slumber, it is the regularity of their releases since they publish a new album every two years since 2016. For the rest, each release has revealed its share of (good) surprises.
The singer has forged a place of choice in the bosom of female metal singers thanks to a very wide range, a timbre and a unique sensitivity. She has contributed to the success of the band since she joined in 2014. Having quickly become the band's main source of inspiration and writing since then, Carmine Gilbert now offers a new turn in the musical history of Oceans Of Slumber with a more intimate and melancholic album. The compositions are calmer, and even if there are still some rhythmic dazzles (the final of 'Red Forest Roads' or 'Just A Day'), they remain confined to variations without constituting the base of the compositions. In the same spirit, the album is totally free of death vocals and the accent is put on the emotion and the sweetness of Carmine's tone.
The orientation of this "Starlight and Ash" is clearly more atmospheric, sometimes even trip-hop. It reminds notably Anathema period "A Natural Disaster". 'The Hanging Tree', 'Star Altar' and 'Salvation' are the most representative expressions of it. The Texans also cultivate a sense of melody with a natural efficiency by mixing rock, pop and metal as on the excellent opening track 'The Waters Rising'.
The arrangement work on these titles reinforces this impression and supports the melancholic aspect with a soft drumming well put forward and a remarkable work of Dobber Berverly behind the drums. The sometimes minimalist orchestration contrasts with the previous productions of the band to the point that it could confuse the most ardent fans of the death metal side of the Yanks.
Less brutal and therefore less metallic, "Starlight and Ash" gains in melodic harmony with a more linear impression on the whole album where its predecessor tended to scatter the attention of the listener who will be here more concentrated on the melodic elements and the orchestration. The album is also shorter, a compactness that also reinforces this impression of homogeneity facilitating the total immersion, entirely devoted to the numerous and deep emotions that the voice of Carmine offers during more than 45 minutes.
Of softness and emotion, it is still a question of it on 'Spring of 21', beautiful piece of piano being used as intro to 'Just a Day' with the first measures in magnificent piano/voice followed by a poignant lament with the almost doom heaviness, marked of an intense melancholic dramaturgy before a more muscular final. Finally, a word about the cover 'House of the Rising Sun' that we don't need to introduce anymore and that shines by a jazzy acoustic and minimalist interpretation, delicately accompanied by a languorous violin.
Oceans Of Slumber signs here a major album of the atmospheric metal by leaning on a singer of a great sensitivity. Between melancholy, softness and delicate atmospheres, the band gives birth to a very successful album, impeccably produced and simply beautiful. A major release of the year not to be missed under any pretext.