Oceansize

At the beginning of 2007 I first heard about Oceansize when listening to songs on the internet radio site Pandora - Homage to a Shame came on and I knew I had to get something by this band. Their cds are rather difficult to come by in the States, so I had to purchase Everyone Into Position from iTunes - I fell in love with the band almost instantly.

Fast forward to now, after many repeated listens to Frames. At first, I didn't think it was as good as EIP - but now it's all I've been listening to. The songs on this album are incredibly subtle, much more so than in the past. 90% of this album is in odd meters or is polyrhythmic, yet I wasn't aware of that at first listen because of this subtlety. One of the things that make this band so great in today's music world is that they take the complexity of so called progressive rock, but only use it to serve the compositions and not their own instrumental showboating.

The spectrum of emotions running through this music is vast and deep. Songs on this album go in all directions, yet each is completely distinct from one another. Commemorative 9/11 T Shirt features a hypnotizing and somewhat minimalistic piano/guitar riff that builds into a fantastic climax, a style of songwriting that Oceansize has perfected on this record. Unfamiliar is probably the most active song aside from Sleeping Dogs - its main riff could be described as a cry of desperation. Trail of Fire is my current personal favorite of the group, with its beautiful, ethereal opening swirl of notes. This track is truly moving to listen to, especially when it reaches the end.

Savant is a serene landscape, reminiscent of Music for a Nurse from the previous album. The lyrics are especially notable: "where others float, you and I crash land." A string section ends the song, making it stand out even more. Only Twin is rhythmically among the most difficult of all Oceansize songs - a rhodes piano lays down a pattern in 3/4, but at a key point in the lyrics the band comes in in 5/8. Later in the song, vocals build to an emotional climax. An Old Friend of the Christy's is quite a different song for them, a sort of post-doom funeral dirge. Again, the band take their time in building on the same theme, but this approach definitely works - this song's grief is unrelenting.

The last two tracks are somewhat of a juxtaposition, proving Oceansize's musical and emotional versatility. Sleeping Dogs and Dead Lions is absolutely vicious. Its highly Meshuggah-influenced opening riff is the most ear-catching moment on the record, along with the piercing vocals. The song breaks down into a Disco Volante-era Mr. Bungle style section with strange guitar/vocal unisons, and really goes out with a bang - fans of A Homage to a Shame from their last album will really find something to love in this song. Lastly, the beautiful The Frame is the Ornament/Last Wrongs of the album, closing the entire work on a decidedly positive note. Its serene and patient solo guitar opening sound post-rock, yet this song does not proceed with the self-importance and unnecessary "noodling" that plagues so much of that genre.

As you can tell, I really can't say enough about this album. The emotions present here go through desperation, anger, determination, grief, hope, and acceptance. If you are going through a hard time in your life, no matter what it is, I think that this album can help you get through it - it's working for me. I can't find anything on it that I dislike.

Oceansize fans, if you don't have this yet, buy it before you buy anything else - even your groceries.

Newcomers, you'll want this, but you might want to get Everyone Into Position first, as it's more accessible at first than this album. But, if you're a patient and appreciative listener, this might just be the purchase for you.

Oceansize is one of the most promising bands in today's musical landscape. All of the members possess high technical ability on their instruments, but only use it sparingly and selectively. Their compositions are infinitely more thoughtful than most of their contemporaries, using subtlety and emotion instead of blazing solos and instrumental feats. Hopefully they will enjoy a great amount of success so we can continue to hear these wonderful new sounds.

Many say an artist's third album will either make or break them and basically decide their longevity. Well step up to the plate......Oceansize with their 3rd album `Frames'. With a line up change due to personal circumstances which saw Steven Hodson coming in as the new bassist; I expected `Frames' to unlock a new door in terms of the direction of their sound and it certainly did.

My first impression of Frames was that it was heavier than its predecessors. However after further inspection it became apparent that it is both their heaviest and their mellowest. They have basically taken their sound spectrum and stretched both extremes even further. This is no more apparent than in the track entitled, "Sleeping Dogs and Dead Lions", which is probably one of the heaviest tracks they have ever done and certainly heading into metal in places, the intro in particular reminds me of The Deftones. Then right next door to this track you have album closer `The Frame' which is your slow moving epic in the same vein as "Ornament/Last Wrongs" from `Everything into Position'. They are completely different songs but both achieve the same thing which is a great and fitting climax to their respective albums. The beauty of `The Frame' lies in the simple build up; starting off with a slow a gentle guitar riff and gradually all the other instruments come in one by one. Then Mike Vennart's voice enters with "I can hold you all together". It's such a relaxing while epic song, never in a rush, letting their sound expand till eventually it bursts with a crashing climax.

The best song on the album for me is `Unfamiliar'. It took me a while to realise that `Unfamiliar' was a song in its own right because of the seamless link from the first track `Commemorative 9/11 T-Shirt', I thought it was part of that song until I looked down at my MP3 player when it clicked. Its starts off easy, then it's as if the song swaggers into bar, knowing every other song is looking at it, thinking I wish I was that good. My favourite bit in particular is the very last quiet/loud part where Mike Vennart sings "And all who sail in her" then really explodes into "Saw the seashore, unfamiliar". A great song and one I would definitely recommend if you want to get pumped up for the day.

On the other hand, the worst song on the album is "bonus" track `Voorhees'. I put the inverted commas round "bonus", because I feel this song ruins the album. The main thing I have got against this song is that it feels so disjointed, as if it is two different songs glued together. It is not a bad song apart from that, but at the same time compared to the rest of the songs on the album I feel it is somewhat sub standard in comparison. Not only this but "The Frame" is for me is the natural album closer and that is how it should finish! A twenty second gap does not make me think "ahhhh that's the end of the album.........oh wait there's a bonus track". Instead, it makes me think that after `The Frame" has finished, "that's it, what a finish to an album.....then there's more". It's like when your up for a promotion you deserve to get and you've done everything right then all of a sudden just when the finishing line is in sight you somehow manage to talk yourself out of it. This is exactly what effect `Voorhees' has on the album.

One of the reasons I feel the bonus track may have been included is to give the fan `Value for money' by filling the CD which comes in at staggering 77 minutes and 41 seconds. The irony of it is if this was indeed the approach is that if the bonus track was taken out, the CD would still have been 67 minutes long which is still twice as long as your average album. Anyway, on a more positive note, the lengths of the songs are one thing I love about Oceansize, while many bands have songs 3 minutes long. In your average Oceansize song, the song is probably still not reached the chorus in that time. There is never a rush, as the let their ideas flourish and expand naturally as opposed to forced and condensed into 3 minutes. Nothing shows this more than the fact the shortest song on the album `Unfamiliar' is 6 minutes and 29 seconds. To make this into a single they had to edit over 2 minutes out of the song!

Overall listening to `Frames' feels like within each song you're going on a journey through different countries and cultures; all within the world of Oceansize. From post rock to epic rock ballads, from metal to Indie rock, it's like a genre hopping extravaganza mastering each impeccably. What excites me about this band even more is a feel there are vast territories with in the world of Oceansize which are still lay undiscovered, even to the band themselves. This is not one of those albums that you will listen to for a month move on to the next band. This album is a slow burner and one which will be on my CD player for many months probably years to come.

Amazing Album - if you truely love music, buy this album.

This is quite possibly the best album I have bought in some time. Unlike so many bands, Oceansize have not let the walls of the commercial music box confine them. Rather, they have created music as music should be. An expression - whether that be of emotion, musical/technical ability and knowledge or whatever.... just not a product to feed the mindless masses.

Oceansize are one of the few bands I have heard in the last few years that are trying something truely fresh. Why stick to 4/4 timing? Why not make a song go for as long needed to build suspense, amplifying the tremendous climaxes?

The daunting minimalized first 5 minutes of "Only Twin" are almost spine-chilling. Then the song erupts into a winding melody underpinned by a highly syncopated riff taking around 12 bars to repeat itself.

The drumming itself is a work of art in this album. Every stroke of Heron's sticks is planned, precise and appropriate - yet never coming across as boringly routine. The sheer complexity of their music, and thus Heron's drumming, could never allow it.

After issuing a set of EPs and singles, United Kingdom's Oceansize made a strong start with their highly acclaimed debut Effloresce in 2003 and backed it up with Everyone into Position two years later. Though there is no general consensus as to which album is more successful, it seems the opinions are based on the listeners' expectations moreso than the musical quality put on display.

In many ways, Frames evokes the denser, more detailed sound of Effloresce, in part because it was produced by the same engineer, Chris Sheldon. Unlike the Coldplay guy who worked on Everyone into Position, Sheldon favours a sharper production with more space. That, however, is where the similarities between the first and third albums end, as Frames sees the band expand on a more accessible soundscape than either of its predecessors. With the exception of track two, "Unfamiliar", the album forges its own path relying heavily on atmospheric depth and melancholy-inducing elements.

The aforementioned "Unfamiliar" feels like a leftover from their earlier sessions, given its brisk rhythm guitar attacks, alternative rock-styled vocal delivery which occasionally borders on aggressive onslaughts, and heavy finish, amidst a dense pool of wailing guitars and pounding drum beats. It is questionable how well this kind of aggression suits the otherwise mid-tempo-paced material on the album, one exception being "Sleeping Dogs and Dead Lions". However, the tracklisting of Frames deems it necessary for such a bludgeoning piece to appear between the experimental instrumental cut and powerful finale. This song unleashes a wave of dissonance, rarely heard on their other albums, and erupts into a bass-centred rhythm, underpinned by maniacal screaming, heavy drum syncopation, and violent, relatively more technical instrumentation.

The frequent incorporation of synths on some of the tunes has rendered them more spacey, particularly on "Trail of Fire" and "Savant". The former is a ballad-like anthem, focusing on solo piano; and a steady, powerful build-up with lofty acoustic guitars and whisper-like vocal manipulations. Oceansize creates an epic in the form of "Savant": it has a cinematic bent to it, sort of like a movie soundtrack. Driven by drawn-out instruments, mellow vocal lines, and cool percussion, the ending boasts an almost classically inspired coda -- it's truly beautiful.

Vocalist Mike Vennart gives a semi-spoken, semi-sung performance on "Only Twin", surrounded by shades of synth layers, and a tenacious, drum machine-like cadence. However, it isn't until the ten-minute instrumental "An Old Friend of the Christies" kicks in when it becomes apparent how talented this young band really is. The funereal acoustic guitars, doomy drumming a la early 90's British doom acts, and a lucid string element form the framework for the ambitious composition. Halfway through, three-part guitar melodies are filtered through myriad sound effects in order to create a thicker, heavier body. The way each repeated note grows to an epic-size monster at the end is testimony to their potential.

The first and last songs are in a way direct opposites to each other. The opener boasts overtly repeated guitar notes overlapping the big drum sound and rising to complex crescendos, whilst the title track, another ten-minute cut, is slightly reminiscent of Godspeed You Black Emperor with vocals. As the band produces strong melodies and sprinkles single-note acoustic bits throughout the piece, the vocalist's desperate croon works phenomenally atop the discreet keyboard line, not to mention the final guitar at the very end. Those who won't sit through the album patiently will unfortunately miss out on one of the most beautifully constructed melodies of the year.

With that said, and while wholeheartedly agreeing that Frames is bound to become Oceansize's breakthrough, I cannot help but think the best from them is yet to come. Once they continue to refine their songcraft with their huge creative range, more people will discover them. The addition of greater amount of post-rock sounds and progressive structures into their albums will surely culminate in more accomplished efforts in the future.

I personally was reluctant to check Frames out right away, having heard their previous two discs and evaluating them as "good but not great" albums. However, once I saw the album listed in Steven Wilson's playlist, I decided to give it a chance -- I'm glad I did. This is their best work so far, but they will surpass it -- they can.

(Please note that the promo copy of the CD that has been circulating around for a while is an unmastered version, and thus does not represent the full quality of the record. I highly recommend checking out the real version before forming a final opinion.)

This is one of the best new bands I discovered in 2006. They have been described as Progressive Rock, Post-Rock, Indie, or simply Alternative Rock, but that doesn't really matter. All I know is that it is very interesting, fresh, and well-rounded music. The band has a huge dynamic range, from extremely fast and heavy with smooth, powerful vocals to very relaxing and atmospheric.

The music is very melodic, clear and well-produced, the songs always flowing and changing to new and exciting ideas. The guitars are very lush and full sounding, during both heavier and mellow parts.

Oceansize may be slightly more slightly more mainstream and catchy sounding than the average "progressive rock" band; however I don't see that as a bad thing whatsoever. They are still quite adventurous and artistic in their writing style. Many songs, like "Amputee" for example would be extremely radio-friendly and accessible to almost any music fan. However, there is also a good share of 8-10 minute monstrosities. The last two minutes of "Massive Bereavement" accelerates into probably the most hard-rocking part of the album, and most of "Saturday Morning Breakfast Show" contains a few excellent progressive buildups and backflips, possibly the most schizophrenic track. "Women Who Love Men Who Love Drugs" is an eight and a half minute very laid-back tune containing very comforting, cascading guitars that sound beautiful, but perhaps a bit too repetitive after a while.

There are even a few instrumental pieces mixed in. I hardly noticed that when listening to the album as a whole and not watching the tracks. "Rinsed" is an extremely mellow piece with almost no progression or excitement, almost a buffer to catch your breath after "Massive Bereavement" before beginning the next song. "Unravel" is a piano-driven piece with two layers of piano subtlety changing around a little.

Fans of Dredg, Porcupine Tree, Green Carnation, Riverside, Tool, perhaps even Anathema and Katatonia, and any other artistic or progressive rock or metal should definitely check this band out. Also, maybe even fans of more mainstream hard rock bands such as Incubus, Deftones, Collective Soul, Alice in Chains, Stone Temple Pilots, Pearl Jam, Foo Fighters, Fuel, etc. will enjoy Oceansize. I know I will be buying their second album soon and look forward to any future releases.

If i had to compare these guys to a popular band, I would say they are like a mix of Incubus and BUSH. I like the music overall, the lyrics don't stand out but the band has a rich sound that is very enjoyable to listen to.

i found this very disappointing.i had heard some of the earlier stuff and liked it,hence the reason for getting this album.this is somewhat different.i say somewhat because each song shows signs of their past with big amounts of promise but for some reason the singer changes it up in every song and they turn it into corporate rock/emo sounding.why they do this i have no idea other than to push more for the mainstream and $$$.i always find it disappointing when artists do this,liz phair anyone? as i see by my fellow reviewers i am alone in this thinking.oh well,i'm used to it.as i said,this album showed promise and would have been a 4-5 star if they just kept to their original style and didn't try to mix it up mid song,for every song.by the 10th track i turned it off to go do more important things.very disappointed.

I must say that Oceansize is another excellent band to add to the list of "Bands to watch." Oceansize, much like Dredg and Porcupine Tree, have had a prog-style that has flown under the radar for much time, which is saddening. This album is worthy of a 5 star review and massive appreciation.

Listen to "Women Who Love Men Who Love Drugs" to get the perfect feel of a song you never want to stop, even though it's 8 minutes long. Then, the infectious "You Wish", which is infinitely more catchy than anything on the radio and would have made a great single. Then the heavy, drilling "Amputee", which creates a heavy, somber mood that is sometimes upbeat and then dark and deep. Haven't you heard enough? Buy the album. It's worth it.

Me likey- Very well produced with layered guitars interwoven with electronic sounds pitting psychedelic soundscapes against progressive fusion rock. As the band name suggests the sound is sometimes like Jane's Addiction but with a Pink Floyd meets Tool mentality and an Incubus-like modern sound. Having said that... they still created a very original sound. Catalyst really kicks but the rest of the album is meant to be absorbed slowly as the songs do not follow the strict verse/chorus/verse/chorus formula of pop music but rather take you on musical journeys much like MarsVolta. Translation: you won't hear this on the radio.

Oceansize's second album `Everything into Position' did more than just reassure their fans that they didn't want to rely on the success of first album `Effloresce'. The Manchester quintet have grown and matured as a band, creating an album which has expanded their musical horizons as well as creating an unsuspecting fan base along the way. As 4th track `Meredith' appeared in the US TV show `The OC'.

The strength and depth of this album is a clear step up from their debut. The band appears tighter and the songs feel more structured and better developed. The album can be split into two halves with a soft side and a heavy side. The soft side will take you to relaxing and peaceful place, like a January detox. The heavy side on the other hand will make you want to pick up an air guitar and thrash it until your arms are so sore you can't play another note. One thing that is for sure though is that this is great progressive rock music and although they've still got a bit to go before they can reach the accolades of current progressive rock heavyweights Porcupine Tree and The Mars Volta; if they keep up this kind of standard, it won't be long till they are joining them.

The soft side of the album, in my opinion displays their best work to date with the 2 stand out tracks of the album; `Music for a Nurse' and `Ornament/Last Wrongs'. Now you may not realise this but `Music for a Nurse' was used as part of the Orange mobile network provider's advertising campaign on TV. Although it is a good taster of the track, it really does not give this 8 minute plus epic its true glory it so rightfully deserves. There is something about this song. The musical backdrop is one in which many post rock acts would aspire to make. It is the slow pace of the song which creates such a massive and sweeping sound. Add to this Vermont's glorious vocals and it just makes the song complete. `Music for a Nurse' is a fitting title for the track too as it would be the perfect track for a nurse to sit back and unwind too after a stressful or busy day at the hospital as it is very relaxing and easy on the ears. For me, this song makes the album so special. Due to its length it was never going to get the radio airplay it deserved which shows the problem with radio rather than with Oceansize. Hopefully one day this song will be fully appreciated, but in reality that will be the day that people who work in radio realise people want to hear songs more than 4 minutes long.

The other epic track on the soft side of `Everyone into Position' is album closer `Ornament/Last Wrongs'. The dual track is a magical way to finish an album. The track opens with a gentle slow moving riff where silence is used after each movement. The song slowly builds up until Vermont and the other band members do the `ah ah ah' bit followed by a much heavier riff. Probably not the best description of it, but once you hear it will make sense. The track then has a great crossover link as the song turns into `The Last Wrongs' as other band members join Vermont on vocal duty in a choir type effect setting off with `Signs the Signs invisible'. Once again the track starts off slowly then builds up to a crashing climax as Vermont cranks up the vocals with `And yours is to just sustain'. This is one of the best endings to an album I have heard to an album in a long time. From album opener `Charm Offensive' right through to this song and `I am the Morning' and `Long Forgotten' from `Effloresce'; it is clear that Oceansize pay particular attention to the beginning and endings of an album as if the tracks are made with the positioning in mind. While many bands will argue over track order it as if Oceansize's pre-planning make this task the easiest of them all.

As you can see from `Music for a Nurse', it is not just the beginning and ending of this album that makes it great but they also have great variety in between. The highlights of the heavier side of the album are `Heaven Alive' and `Homage to a Shame'. What I love the most about Oceansize's rockier songs is that not only do they try not to cram them down to three minutes and let the song expand naturally but Vermont's vocals are upped a notch while still being in his range where as other singers would lose control over some of the notes. Vermont is clearly in control as he blasts out `This release inside of me, Is like my heaven calling' on `Heaven Alive'. On `Homage to a Shame' it is the great guitar work which takes centre stage as the quiet loud technique is used to great effect and the loud bits make it easily the heaviest track on the album. For me the technique makes the impact on the listener even greater. If you listen carefully through earphones you can also hear whispering on certain parts of the track which adds a nice touch as well as depth to the track along with the screaming towards the end of the track which acts as a great climax.

Overall this is a fantastic follow up album. They have a bit of a way to go before cementing their place amongst the great prog bands but if they continue to make albums like this surely it won't be long. From a selfish point of view though I just want this band to stay small as seeing them in smaller venues is a mesmerising experience. But wherever you go to see them you can be safe in the knowledge that the person standing next to you has a great taste in music.

Ok, I'll keep it simple. Oceansize is an amazing band and I find it thoroughly surprising that they don't have a bigger, more global fanbase. I found out about them through last.fm and ever since I have liked them increasingly upon every listen. The musicianship is phenomenal (especially the drummer, Mark Heron) and the songs are all huge, 'ocean-sized' epics. A must have for all prog-rock and post-rock fans (it's hard to characterize the style, i'd say it's kinda a mix of the two).

I was introduced to this album by the movie "The Invisible". The movie opened with an absolutely beautiful song and I immediately wanted the soundtrack. When I looked it up, it turned out that opening song was Music for a Nurse, and so my journey into the world of Oceansize began...

This album has blown me away. It's been a long time since I've found a new sound that I liked so much. Oceansize has that perfect blend of hard and soft sounds, their sensitivity and exceptional musicality evident in every song. There is rhythmic complexity that reminds of Tool; rarely can a square four-beat measure be found.

The arc of Everyone Into Position is flawless. The album ramps up to full speed in the first several tracks and then retreats to its more somber side with the dreamlike Music for a Nurse. Picking up speed again, the final songs play with a power that begs full attention before ending in the orgasmic and tension-releasing Ornament/The Last Wrongs.

This is music that you'll never get tired of and will stand the test of time- an utterly amazing achievement.

This cd purchase was my greatest disappointment of 2007. I bought it based on what I heard from the Amazon Music Sampler, but upon receipt found the production to be so poor I just can't listen to it. The vocals are buried deep in lots of noise, which makes up much of the content. I'd pass if I were you.

Looking for more prog rock. Really can't find anyone to parallel Porc Tree or Dream Theater. Took ages to arrive

This 5-song (4-song if you don't count the ambient instrumental "Drag the Nal" a true song) EP is veeery good. It flows together well as one piece and contains one of Oceansize's hardest rocking songs ("One out of None"). This isn't a good starting point to listening to the band, as to some of the songs are oddly spaced and require many listens to fully appreciate. So I suggest Effloresce if you are new to Oceansize.

That is all. It's good, buy it. (But 14.99 is a crazy price. I got mine for 3.98 at a local music store).

This EP (5 songs) continues what Effloresce started. 'One Out of None' begins with ultra-heavy and layered guitar sounds and then the songs begin to take you on a musical journey in which you actually feel like you get somewhere in the end. Fans of metal will think its too soft and others will think it is too heavy. I think it is best of both worlds. You may need to take a nap after listening to this. Start with Effloresce first and then buy this as the companion piece.

The guy below hasn'r really got a clue. This is a progression from Effloresce, which was a masterpiece.

But sounds change, Oceansize have scrapped some of the melodic stuff for a more post rock, experimental and grittier sound.

One Out of nONE does work and like all other Size tracks, builds to an epic end. Paper Champion is probably the most accessible track with a simple melody and thumping base riff.

The last 3 tracks all blend as one. Drag the 'Nal works as a fine atmospheric intro to Dead Dogs which is the stand-out track on this e.p. As the Smoke Clears finishes in a similarly apocalyptic fashion. It only leaves you wanting more than 25 minutes worth.

Music For Nurses is the 5-track EP that comes hot on the heels of Oceansize's brilliant in parts though inconsistent debut, 'Effloresce'. 'Music For Nurses' suffers from the opposite problem: everything here is good, but nothing stands out as brilliant'. Though, on paper, opener 'one out of nONE' ought to be brilliant: an explosive diversion into the territory of metal, it doesn't quite come off, as the verses sound like rehashed Oceansize, despite a brilliant riff and some top-drawer screaming. It powers through various sections almost too quickly, and thus comes across as good but not as great as it might have been. 'Paper Champion' is a building, atmospheric number; 'Dead Dogs An' All Sorts' flies the post-rock torch, and 'As The Smoke Clears' is a far slower metal number. All are accomplished, but they lack the killer intensity (and tunes) of tracks like 'Catalyst' or 'One Day All This Could Be Yours'. Worth having, but could have been better.

This is one of the best new bands I discovered in 2006. They have been described as Progressive Rock, Post-Rock, Indie, or simply Alternative Rock, but that doesn't really matter. All I know is that it is very interesting, fresh, and well-rounded music. The band has a huge dynamic range, from extremely fast and heavy with smooth, powerful vocals to very relaxing and atmospheric.

The music is very melodic, clear and well-produced, the songs always flowing and changing to new and exciting ideas. The guitars are very lush and full sounding, during both heavier and mellow parts.

Oceansize may be slightly more slightly more mainstream and catchy sounding than the average "progressive rock" band; however I don't see that as a bad thing whatsoever. They are still quite adventurous and artistic in their writing style. Many songs, like "Amputee" for example would be extremely radio-friendly and accessible to almost any music fan. However, there is also a good share of 8-10 minute monstrosities. The last two minutes of "Massive Bereavement" accelerates into probably the most hard-rocking part of the album, and most of "Saturday Morning Breakfast Show" contains a few excellent progressive buildups and backflips, possibly the most schizophrenic track. "Women Who Love Men Who Love Drugs" is an eight and a half minute very laid-back tune containing very comforting, cascading guitars that sound beautiful, but perhaps a bit too repetitive after a while.

There are even a few instrumental pieces mixed in. I hardly noticed that when listening to the album as a whole and not watching the tracks. "Rinsed" is an extremely mellow piece with almost no progression or excitement, almost a buffer to catch your breath after "Massive Bereavement" before beginning the next song. "Unravel" is a piano-driven piece with two layers of piano subtlety changing around a little.

Fans of Dredg, Porcupine Tree, Green Carnation, Riverside, Tool, perhaps even Anathema and Katatonia, and any other artistic or progressive rock or metal should definitely check this band out. Also, maybe even fans of more mainstream hard rock bands such as Incubus, Deftones, Collective Soul, Alice in Chains, Stone Temple Pilots, Pearl Jam, Foo Fighters, Fuel, etc. will enjoy Oceansize. I know I will be buying their second album soon and look forward to any future releases.

If i had to compare these guys to a popular band, I would say they are like a mix of Incubus and BUSH. I like the music overall, the lyrics don't stand out but the band has a rich sound that is very enjoyable to listen to.

i found this very disappointing.i had heard some of the earlier stuff and liked it,hence the reason for getting this album.this is somewhat different.i say somewhat because each song shows signs of their past with big amounts of promise but for some reason the singer changes it up in every song and they turn it into corporate rock/emo sounding.why they do this i have no idea other than to push more for the mainstream and $$$.i always find it disappointing when artists do this,liz phair anyone? as i see by my fellow reviewers i am alone in this thinking.oh well,i'm used to it.as i said,this album showed promise and would have been a 4-5 star if they just kept to their original style and didn't try to mix it up mid song,for every song.by the 10th track i turned it off to go do more important things.very disappointed.

I must say that Oceansize is another excellent band to add to the list of "Bands to watch." Oceansize, much like Dredg and Porcupine Tree, have had a prog-style that has flown under the radar for much time, which is saddening. This album is worthy of a 5 star review and massive appreciation.

Listen to "Women Who Love Men Who Love Drugs" to get the perfect feel of a song you never want to stop, even though it's 8 minutes long. Then, the infectious "You Wish", which is infinitely more catchy than anything on the radio and would have made a great single. Then the heavy, drilling "Amputee", which creates a heavy, somber mood that is sometimes upbeat and then dark and deep. Haven't you heard enough? Buy the album. It's worth it.

Me likey- Very well produced with layered guitars interwoven with electronic sounds pitting psychedelic soundscapes against progressive fusion rock. As the band name suggests the sound is sometimes like Jane's Addiction but with a Pink Floyd meets Tool mentality and an Incubus-like modern sound. Having said that... they still created a very original sound. Catalyst really kicks but the rest of the album is meant to be absorbed slowly as the songs do not follow the strict verse/chorus/verse/chorus formula of pop music but rather take you on musical journeys much like MarsVolta. Translation: you won't hear this on the radio.

well. .. contrary to what amazon's description says, there are only 2 songs on this single. New Pin (edit) and Superfluous to Requirements. Emp(irical) Error is not on this and is actually a pre-track on Everyone Into Position. If you put your EiP disc into a normal cd player (not a computer) and rewind from the beginning of The Charm Offensive, you'll find empirical error.

ok. . . for the single. .. . i could take or leave the edited version of new pin. .. i understand they have to edit longer songs for radio play, but if i want to listen to new pin, i'll do so while listening to EiP. The reason i bought the single is for superfluous to requirements, even though i had yet to hear the song before buying it.

The song is fantastic. It could very well have fit onto Everyone into position, although i'm not sure where. But, in saying that i mean.. . the mood of the song would have fit well on the disc. It could have easily substituted for new pin, meredith or even you can't keep a bad man down.

There is a nice mix of piano, electronic elements and guitars which doesn't happen on all Size tracks. So. . if you're a fan, you'll more than likely buy it without reading reviews.. . if you're questioning it, buy the track from itunes or buy the cd from the marketplace for a cheaper price than you typical UK import cd single price.

To each his own. Oceansize is certainly one of the best bands going right now, and I think Everyone into Position is an album that proves it, top to bottom. But at the same time, I also think the new album, while more forceful than their debut album, Effloresce, and while it permits us more insight into the band's personality, misses some of the truly beautiful moments of Effloresce, the textured, panoramic instrumentals.

As a song, "Heaven Alive" is a nice offering, whether you're talking about the full-length version or the radio cut you'll find here. Really highlights Oceansize's similarities to Radiohead. But it's the B-side of this single that really brings the band back to its strengths, the full-blown instrumentals. In a word, this song kicks. As I listen to "I/B/O/W," the first thing I wonder is why song didn't make the album. And the next thing I wonder is why THIS AMAZING SONG wasn't the first track off EiP to hit radio.

Alas, we don't live in a musical culture favorable to instrumentals. I guess that answers one of my questions about "I/B/O/W." As to the other question, I can't say. EiP is a great album as-is, but surely there would have been room on it for one more track, especially a track this good. Whatever. The band had their reasons, I guess.

All I'll say is that this is the quality of music that, 3 decades ago, would have DEFINED its generation. Today, it's almost countercultural. Do you know how hard it is to find Oceansize material in the United States? Sometimes I think I'm the only person this side of the pond who has heard about these guys. That's a shame.

I guess it also helps that I bought the single new for $3.99. At a price like $11.99, I might not be lucky enough to own this song today.

In any case, as you can surely tell by now, I fully endorse & recommend this single. If you find it cheaper than 10 bucks, you're doing yourself a disservice not to make the investment.

ok.. this band is by far one of the best bands playing now.... comparable to the mars volta, tool and radiohead in concept and scope. however, this single leaves a little to be desired. heaven alive is the radio edit version and i'm not one for the radio... this only means the song has been shortened to fit in a standard time slot allotted for a radio song, but oceansize isn't a band that should be compressed and shortened to fit on the radio... the other song, i/b/o/w is a nice instrumental, but with that being said, i feel in order to give fans something worthwhile, an instrumental should be followed up by a b-side from the record. just giving us a b-side instrumental seems a little weak... the song is great, don't get me wrong. i just feel for $11.99 you should get at least 2 unreleased songs... . .

but, be sure to check out their first full length effloresce, music for nurses ep, and the full length this single was taken from, everyone into position....

Oceansize's second album `Everything into Position' did more than just reassure their fans that they didn't want to rely on the success of first album `Effloresce'. The Manchester quintet have grown and matured as a band, creating an album which has expanded their musical horizons as well as creating an unsuspecting fan base along the way. As 4th track `Meredith' appeared in the US TV show `The OC'.

The strength and depth of this album is a clear step up from their debut. The band appears tighter and the songs feel more structured and better developed. The album can be split into two halves with a soft side and a heavy side. The soft side will take you to relaxing and peaceful place, like a January detox. The heavy side on the other hand will make you want to pick up an air guitar and thrash it until your arms are so sore you can't play another note. One thing that is for sure though is that this is great progressive rock music and although they've still got a bit to go before they can reach the accolades of current progressive rock heavyweights Porcupine Tree and The Mars Volta; if they keep up this kind of standard, it won't be long till they are joining them.

The soft side of the album, in my opinion displays their best work to date with the 2 stand out tracks of the album; `Music for a Nurse' and `Ornament/Last Wrongs'. Now you may not realise this but `Music for a Nurse' was used as part of the Orange mobile network provider's advertising campaign on TV. Although it is a good taster of the track, it really does not give this 8 minute plus epic its true glory it so rightfully deserves. There is something about this song. The musical backdrop is one in which many post rock acts would aspire to make. It is the slow pace of the song which creates such a massive and sweeping sound. Add to this Vermont's glorious vocals and it just makes the song complete. `Music for a Nurse' is a fitting title for the track too as it would be the perfect track for a nurse to sit back and unwind too after a stressful or busy day at the hospital as it is very relaxing and easy on the ears. For me, this song makes the album so special. Due to its length it was never going to get the radio airplay it deserved which shows the problem with radio rather than with Oceansize. Hopefully one day this song will be fully appreciated, but in reality that will be the day that people who work in radio realise people want to hear songs more than 4 minutes long.

The other epic track on the soft side of `Everyone into Position' is album closer `Ornament/Last Wrongs'. The dual track is a magical way to finish an album. The track opens with a gentle slow moving riff where silence is used after each movement. The song slowly builds up until Vermont and the other band members do the `ah ah ah' bit followed by a much heavier riff. Probably not the best description of it, but once you hear it will make sense. The track then has a great crossover link as the song turns into `The Last Wrongs' as other band members join Vermont on vocal duty in a choir type effect setting off with `Signs the Signs invisible'. Once again the track starts off slowly then builds up to a crashing climax as Vermont cranks up the vocals with `And yours is to just sustain'. This is one of the best endings to an album I have heard to an album in a long time. From album opener `Charm Offensive' right through to this song and `I am the Morning' and `Long Forgotten' from `Effloresce'; it is clear that Oceansize pay particular attention to the beginning and endings of an album as if the tracks are made with the positioning in mind. While many bands will argue over track order it as if Oceansize's pre-planning make this task the easiest of them all.

As you can see from `Music for a Nurse', it is not just the beginning and ending of this album that makes it great but they also have great variety in between. The highlights of the heavier side of the album are `Heaven Alive' and `Homage to a Shame'. What I love the most about Oceansize's rockier songs is that not only do they try not to cram them down to three minutes and let the song expand naturally but Vermont's vocals are upped a notch while still being in his range where as other singers would lose control over some of the notes. Vermont is clearly in control as he blasts out `This release inside of me, Is like my heaven calling' on `Heaven Alive'. On `Homage to a Shame' it is the great guitar work which takes centre stage as the quiet loud technique is used to great effect and the loud bits make it easily the heaviest track on the album. For me the technique makes the impact on the listener even greater. If you listen carefully through earphones you can also hear whispering on certain parts of the track which adds a nice touch as well as depth to the track along with the screaming towards the end of the track which acts as a great climax.

Overall this is a fantastic follow up album. They have a bit of a way to go before cementing their place amongst the great prog bands but if they continue to make albums like this surely it won't be long. From a selfish point of view though I just want this band to stay small as seeing them in smaller venues is a mesmerising experience. But wherever you go to see them you can be safe in the knowledge that the person standing next to you has a great taste in music.

Ok, I'll keep it simple. Oceansize is an amazing band and I find it thoroughly surprising that they don't have a bigger, more global fanbase. I found out about them through last.fm and ever since I have liked them increasingly upon every listen. The musicianship is phenomenal (especially the drummer, Mark Heron) and the songs are all huge, 'ocean-sized' epics. A must have for all prog-rock and post-rock fans (it's hard to characterize the style, i'd say it's kinda a mix of the two).

I was introduced to this album by the movie "The Invisible". The movie opened with an absolutely beautiful song and I immediately wanted the soundtrack. When I looked it up, it turned out that opening song was Music for a Nurse, and so my journey into the world of Oceansize began...

This album has blown me away. It's been a long time since I've found a new sound that I liked so much. Oceansize has that perfect blend of hard and soft sounds, their sensitivity and exceptional musicality evident in every song. There is rhythmic complexity that reminds of Tool; rarely can a square four-beat measure be found.

The arc of Everyone Into Position is flawless. The album ramps up to full speed in the first several tracks and then retreats to its more somber side with the dreamlike Music for a Nurse. Picking up speed again, the final songs play with a power that begs full attention before ending in the orgasmic and tension-releasing Ornament/The Last Wrongs.

This is music that you'll never get tired of and will stand the test of time- an utterly amazing achievement.

This cd purchase was my greatest disappointment of 2007. I bought it based on what I heard from the Amazon Music Sampler, but upon receipt found the production to be so poor I just can't listen to it. The vocals are buried deep in lots of noise, which makes up much of the content. I'd pass if I were you.

Looking for more prog rock. Really can't find anyone to parallel Porc Tree or Dream Theater. Took ages to arrive