Returning with their second full length, the East Coast Portland (Maine) foursome manage to not only defend their reputation as capable purveyors of riffs most heavy but also to expand their sonic palette in an unexpected but welcome way. With greater control of dynamics, a female guest vocalist and songs played across time scales better expressed in geologic terms rather than minutes, this is one of the best metal albums of the year.
With a crashing thud, Ocean start where they left off on their debut: doom played at a snail’s pace. While it is no great departure for them, it is still an awesome sound that sucks the listener in from the moment it starts. However, another album in the exact same style would be tedious considering the wealth of bands exploring similar musical areas (Moss, Trees, Wreck of the Hesperus, and so on and so on). Ocean avoid stagnation by actively breaking up their already tried and tested sound. Halfway through “The Beacon,” the volume drops out and the sound shifts significantly. Rolling back on the distortion and introducing a female vocalist (Yoshiko Ohara from Bloody Panda), the change in mood is remarkable. Over the second half of this immense song, the power builds up again before burning out exquisitely.
“The Beacon” could have been an album on its own but Ocean have spoilt us by adding another shorter piece to flesh out the album (although at 23 minutes it is still a bruiser!). “Of the Lesser” again returns to the over- amplified plod of Ocean of yore. At first disappointing after the majesty of “The Beacon” but as the piece progressed, an almost ecstatic feeling Godspeed-like momentum builds up before slowing right down again; it is dizzying stuff.
With each subsequent listen of the album I get more and more enthused about the whole thing. Ocean could have very easily just repeated Here Where Nothing Grows but they have pushed themselves further than that. It will be interesting to see where they will go from here, personally further exploration of the quieter sound they have employed here on “The Beacon” would be intriguing. It is here that Ocean have gone from a group that I have liked and would listen to occasionally to a group that I feel have real potential to break apart from their peers.
As a closing remark I would wager that as nice as the 2xLP version is likely to be (Important did a wonderful job on the first album), with the length of the two songs the CD version is probably going to give the best listening experience.
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A record like this always sounds as though it belongs to a room full of neon lights, smoke, and half-faded memories. There's always something lingering just beneath the surface and it's never quite pretty, but it's always engaging: just like a dirty secret. These are the first images that come to mind when I hear the slinky guitars, winding percussion, and the organic production. Having an organic sound is the best way to describe each track on Jealousy and Diamond: guitars fade into and out of each other, strange and warm hums permeate each instance of every sound, and the percussion more or less blurs the line between melodic and completely percussive instruments.
