Oceansize - Home & Minor EP

Back in 2003, Oceansize's 'Effloresce' was to modern rock music what Brian Eno's 'Apollo' was to ambient music 30 years prior. Well, to those who knew about it anyway. The album ranged from the crafted onslaught of 'Catalyst' to such graceful epics like 'Long Forgotten'. And as the band matured, the band polished their sound further. On listening to 'Only Twin' on the latest album it would be unfair not to say that they've created a sound of their very own.

In this EP, however, Oceansize have veered away from all that, in place for mellower, lo-fi affair - 'more reserved, with not a distortion pedal in sight' in Vennart's own words. Gone are the uplifting tranquil arrangements of 'Meredith' and 'Mine Host'. Instead, they've opted for a darker mood, similar in style to 2004's 'Music For Nurses EP'. But, this is just about where the similarities end. Unfortunately, where MFN exceeds in its cohesive theme and flow, 'Home and Minor' lags. This isn't a typical Oceansize affair; they experiment with new sounds and styles, and it appears to have worked with some tracks more than others.

Opener 'Legal Teens' consists of layers of amiable melodies bookended by slow, hypnotic swirling sounds, but never really settles into any comfortable groove. The following track, 'Getting Where Water Cannot' is a similar affair. The guitar feels very jagged, and is augmented by the somewhat obtrusive drumming. It doesn't really make for comfortable listening, but interesting nonetheless.

'Monodrones', on the other hand, is splendid. It harks back to the soundscapes of 'Drag the 'nal'/'Dead Dogs N All Sorts' from their previous EP. It's simple arrangement of several ambient layers, are dotted with scratchings of tremolo in places and finished off by a basic rhythm. Title track 'Home & Minor' commences in similar fashion, but then progresses into a lovely guitar line. Vennart's vocals really adds a fine touch here. The track ends delightfully with several layers of glockenspiel with the main melody repeated on piano.

'Didnaeland' is another short instrumental, and perhaps the first track where Oceansize have ever used the grand piano sound as the basis for a song. The pleasant piano refrain is well supported by some more subdued drumming that does the track justice. However, it is the closing track 'The Strand' that really finishes off the EP in style; again, very dark, 'The Strand' builds and proceeds in an almost Mogwai-like fashion. I wouldn't have been surprised if I'd been subject to an intense wall of noise 5 minutes in. Instead, we are immersed in haunting electronic spiralling. The sparse lines of vocals feel intimate and very personal - the production such that in a quiet room with a good stereo you would feel as if Vennart himself was whispering the lines into your ear.

So, a mixed bag on overview. Oceansize have certainly covered some new ground here, and there are definitely enough good ideas in here to keep the EP fresh and interesting. Having said this, as a long time fan, it is difficult for me to rate this as highly as some of their other releases. They have produced mellow music of such quality in the past, with tracks such as 'Music For A Nurse' being used for an Orange advert, that I have every faith that they have more up their sleeve for the forthcoming 4th album. In short, worth listening to, but ultimately unmemorable.

Listen now on Spotify

Moneeb