Like any democratic entity, the hardcore scene has always had its leaders. Mathcore pioneers Converge and Botch are prime examples of this; bands who were silently nominated by their peers as the bands that represent them best. A lot of times, the people – or bands, in this case – are nominated because they are seen in a higher regard than their followers. So, it makes sense, that when Botch fell apart in 2002, there were plenty of bands eager to step up and take their place. Norma Jean tried to lead the second coming of mathcore, along with bands like The Chariot, who also practice Botchism. But while their forbearers were on top because their intensity was honest and original, the second wave sounded like they were trying to copy the first. (And judging from their latest album, Norma Jean has grown tired of their (second) religion and headed into a post-hardcore direction). Oh, Sleeper are cut from a very similar cloth. Botchism is practiced on a frequent basis on Son of the Morning, but unlike their attention-seeking peers, it is only a major element of their sound – not the entire 100%.
If you know anything about Oh, Sleeper, you are aware that Botchism has been a major element of their sound since their debut The Armored March EP, which means, as you can probably guess, that their sound hasn’t changed very much. Dissonant chords, heavy off-time breakdowns, and sweeping solos make up a large part of guitarists Shane Blay and James Erwin‘s repertoire. In fact, their technical skill is rather impressive – as it is for the whole band. But that other vital part of being a good band – you know, songwriting – is lacking.
It is most obvious on songs like “Sun of the Morning”, “The Finisher” and “In All Honesty” – tracks with some killer riffs – the band relies on all-too-familiar songwriting techniques; breakdowns are thrown in as transitions (that often don’t make sense) and dragged out for an obscene amount of time to fill up space. Additionally, when the band tries to write stronger progressive numbers (“Reveries of Flight”), it mostly comes off as a band trying too hard to follow in Thrice‘s footsteps.
It isn’t all bad though – when the band is on, they are on, but those good moments never last for an entire song. However, the band are consistently strong, melodically speaking, from song-to-song. Even though they sometimes sound out of place, choruses do reign supreme on a majority of the tracks, and the accompanying “emotional” bridge usually has an “epic” feeling (mainly because they are often accompanied by “soulful” sweeps). Why the quotations you ask? Because even though contextually speaking these parts feel honest, when listening with a slightly omniscient ear, you can’t help but question how “emotional” these sections really are.
Despite having enough technical prowess to take the throne, Oh, Sleeper are a band that won’t be able to fill those shoes until they learn to be themselves – which, to be fair, it seems like they are trying to do, in spots – they are going to be easy to group in with the hordes of other Botchists trying to become the new kings of the scene.
(5.8/10)
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