One might hear the expression ‘as restless as the ocean,’ an apt description of something that is constantly changing and evolving. In musical terms, Finnish veterans …And Oceans may indeed resemble the very thing for which they are named. Emerging in 1995 as Black Metal was growing further afield from its violent adolescence, the creative output of Timo Kontio and Teemu Saari rapidly evolved from more straightforward material to an experimental, Industrial-tinged product that had no interest in following rules. Early in the millennium, they released two such albums before disbanding to become Havoc Unit. As most artistic journeys are cyclical, so too did Kontio and Saari return to their roots, bringing with them a vicious, creative edge that has forced the world to pay attention.
Released on January 27, 2023, coming to us via Season of Mist Records, …And Oceans bestows their sixth full-length album As In Gardens, So In Tombs, and it is immediately evident the band is churning with the energy and focus which has been fueling them since renewing their activities. Manic speed and staccato drumming remains a staple of their sound, but the lush keyboards of Antti Simonen play well with the somber leads of Kontio and Saari on “Within Fire and Crystal” despite fluid bursts of hyper-speed a la Black Metal bands like Anorexia Nervosa and Minenwerfer.
Symphonic Black Metal has been going through a revitalization period, and songs like “Cloud Heads” are the reason. This is a superbly arranged track that calls to mind that vicious yet beautiful mid ’90s Dimmu Borgir action. One of the best songs on the album, there are even some playful hints at the formerly Industrial path the band once took. The various elements are blended with confidence, with convincing results.
Vocalist Matthias Lilmans once again mans the mic, spitting his blackened vitriol quite well. Adventurous keyboards on “Inverse Magnification Matrix” provide a wild juxtaposition between this voice and orchestral flair, introducing a manic and slightly schizoid element which will appeal to anyone who appreciated the histrionics of Covenant, Arcturus, and the aforementioned Dimmu Borgir. Note the three-word song-title. Are they paying homage to their spiritual Norwegian brethren?
The ten songs on the album feature enough diversity to keep things highly interesting, with closer “Ambivalent God” and its mournful guitar leads creating a far more introspective element than on the more bombastic “The Collector and his Construct” which goes a bit more for the throat and will churn mosh pits the world over.
Overall, the world of underground Symphonic Black Metal is better for having this revitalized …And Oceans in it. Thus, Cryptic Rock gives As in Gardens, So in Tombs 4 out of 5 stars.
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