Power, passion, beauty, brutality, despair, and hope.
Oceans of Slumber have all of the pieces in place to be a major Network Radio staple, alongside Disturbed, Five Finger Death Punch, et al. Cammie Gilbert’s star power and raw vocal talent are beyond compare. She’s the David Gilmour of the voice; no Pop Diva can touch her.

She could easily lead a project to reach the heights, multitudes, and charts in the same manner as Adele, Beyonce, Demi Lovato, etc. If she competed on one of those vocal competition TV shows, she’d win.
But.
It would appear that instead of adding some polish and sheen and trim and commerciality to become one of the biggest Metal bands of the year, Oceans of Slumber have chosen to maintain their integrity. Integrity! What an odd choice. . . Yes, they could have released their own version of “Theater of Pain,” “The Black Album,” “Hysteria,” etc., replete with gently defiant power chord anthems, ballads, and a more radio-happy version of their former sound. Instead, they chose to continue the work they’d begun on their previous releases, creating soulful, gothic, Dark, Death, introspective masterpieces. Instead of reflecting outward expectations, they’ve elected to reflect inward, further cementing their position as one of the best Metal bands of the era.
The songs on their self-titled album don’t just stare unflinching into the gloom, they empath the darkness, engaging it, immersing in it, holding the listener through its black waters. Emotion is what has always set Oceans of Slumber apart, elevated them - - and very few artists have ever been able to channel and convey these feelings in the same manner. Maybe The Cure. . . Trent Reznor. . . Nick Cave. . . Occasionally Al Jourgensen. . . Much of this credit of course lies with Cammie on vox, but the true source of this is the songwriting. This is the level of talent to get Mikael Akerfeldt looking over his shoulder.
Even with the great guitar work - - the sections of heavy chugging riffs and strummed clean chords - - much of the heart and soul feels keyboard-driven, keyboard-based. Many of the best moments are owned by beautiful synth and piano, especially the Michael Nyman-esque, cinematic instrumentals, “September (Those Who Come Before)” and “Imperfect Divinity.”
But even with those softer, more atmospheric outer dimensions and elements, this is possibly their heaviest record yet. Dobber Beverly still hits these more-notes-than-Yngwie bursts on the snare drum, and the growled vocals often crop up - - which are well-used to counterpoint Cammie Gilbert’s clean voice, like Draconian, Eleine, and other “Beauty and the Beast” model bands. And there’s a Doom riff near the end of "Soundtrack to my Last Day" . . . It’s so fat and nasty and chunky. OoS use it strategically, but a more pedestrian Doom band would have tried to make an entire career of it.
Some other highlights: “Pray For Fire,” the second half of “A Return to the Earth Below” just knocks me on my ass. . . The lush oceans of synths at the beginning of “I Mourn These Yellow Leaves”. . . “The Red Flower” - - My god. It’s just gorgeous. And the album closes with an excellent deep cut Type O Negative cover of “Wolf Moon” (from “October Rust”).
It’s early to call it, but Oceans of Slumber’s self-titled release looks to be the album of the year.

PS: One more highlight: The refrain on “To the Sea” is goddamn powerful and heartbreaking.