Dawn of Ouroboros “Bioluminescence”
Post black metal act Dawn of Ouroboros really hit the post-black metal sound with the band’s 2023 album Velvet Incandescence. Creating a sonic soundscape of sorrow, anxiety, emotional stress and heartfelt atmosphere. While also bombarding the listener with the captivating and harsh vocals of Chelsea Murphy. The album was actually one of my favorite albums of 2023 and potentially top three in my all time favorite post-black metal releases. Now, two years later, the band has returned to light up the world with their third album Bioluminescence on Prosthetic Records. After a titan-esque beast of the band’s second album, gaining them attention and a cult-following along with reaching a lot of new fans, where does the band go from there?
The album opens with the titular title track. The aggressive, forceful and straight out the gate blasting drums of Ron Bertrand start the song off going for the gusto. The distortion wall of Tony Thomas’ guitars cascade over the bombarding blast beats as synth pads add to the atmosphere of the track. Chelsea Murphy’s sultry, 50’s seductress voice, over Thomas’ almost uplifting guitars, dramatically shifting to deep guttural over the sweeping and rising guitars and angelic leads behind her. The ear-piercing shrieks, over the calming guitar clean strumming, combined with the all over the kit playing of Bertrand, is a combination I have loved from the band. The almost 2000’s metalcore cleans at the halfway mark, combined with the pressing kick drums and striking distorted guitars is a real one-two combo. Especially transitioning into the clean vocals of Murphy. Complexity in its purest form throughout the piece, and Thomas’ emotional solo near the three-quarters mark channels something Petrucci would do on a Dream Theater track. And the barrage of growls, atmosphere, emotion and chaotic drumming wraps this album opener up with a brutal and emotional bow.
“Nebulae” continues the out the gate punishment, but with the addition of twinkling keys and strings that segue into an almost modern metal/djent lead by Thomas. The emphasis of strings behind Murphy’s vocals truly add weight and power to her growl vocals. All while adding that sorrowful, harmful and schizophrenic emotional delivery with the lyrics and the chugging guitars throughout the sporadic, octopus-like playing of Bertrand. With an Animals as Leaders vibe in its thumping and groove-like bass playing of Ian Baker, the track transcends into an ethereal plain throughout the almost five-minute runtime. Murphy’s anguishing, almost hard to listen to shrieking truly adds a dark, unhinged, emotional breakdown. Before her cleans bring a sign of hope and inspiration. Before being dragged down to the depths of the unknown when her growls come back harsher, fiercer and more tenacious. And that chugging breakdown, with the neverending double bass, is (chef’s kiss) so good.
“Slipping Burgundy” drops the going for the throat opening to shock the listener with an almost crooner, jazz quartet feeling vibe that complete matches the Twin Peaks-inspired music video. I even image a moment where Director Cole hears Murphy’s voice and immediately can hear perfectly and calling her an angel (show reference BTW for non Twin Peaks fans). But back to the track at hand, the sharp contrast to a bluesy, emotional and harrowing vocal performance from Murphy delivers that dark, brooding and sensual delivery in her vocals. With the thumping bass on the piece, a nice addition of Contrabass played by Jason Kohnen, it is a stark contrast to the previous tracks, but truly fits the band’s mystique with where they are going. Mutating to an almost adult-contemporary, synth heavy section that would truly fit on a Twin Peaks soundtrack. Chugging and nihilistic sounding guitars come-in right before the halfway mark and encapsulate an uneasy and anxious feeling as Murphy’s beautiful, alluring cleans turn demonic and harsh to match the music’s darkened demeanor. Before turning into well-produced, progressive, and jugular cutting post black metal done perfectly to the T. With Murphy’s vocals getting even lower and more ominous throughout the track. Thomas also gives one hell of a technical solo near the three quarters mark. Piercing through the barraging of palm-muted guitars and drums, before returning to the opening number. Dawn of Ouroboros love to toy and play with the listener, giving them an idea of where they could go, before tricking the listener and shifting the song into a new direction.
Upbeat sounding and soaring guitars amongst consistent double bass thumping opens “Poseidon’s Hymn”. That positivity drops down to an almost unholy, downtempo and downright disgusting sounding riff. But with the strings and atmosphere continuing to give the track a piece of hope and optimism. Accented by Murphy’s clean vocals, all while Bertrand’s unrelenting double bass and cymbal strikes drive the song to continue the unrelenting heaviness of the track. The reverb-soaked clean guitars at the halfway mark, and 80’s reverb-laden drums hit so hard when they come in near the close of the song. Creating an angelic, heavenly and utopian aesthetic that leads into another soaring lead by Thomas. Who, along with Bertrand, have truly amped up the band’s sound to the next level so far with this album.
“Dueling Sunsets” prog-like opening guitars and synths add a more heavier Rush-esque opening to the track. Murphy’s vocal sound so gritty and gravelly, I’m surprised she hasn’t shredded her voice even more on this track and we aren’t even halfway through. And to jump from those vocals to cleans and be clean, clear and still sound perfect is quite a talent. The sonic onslaught continues again, with Murphy’s cries to the skies vocals. Delivering that melancholic, depressing and longing vocal delivery with such anger and aggressive tone, it truly is quite a talent that few can pull off in extreme metal. The hardcore-style drumming at the halfway mark is a nice switch-up, that accents and adds a unique musical choice to the track and adds a little bounce to the song’s vocal cadence. Thomas is again on fire on the guitar solo, before the thundering drum fills and synths that would make Genesis jealous. It hits that 80’s/synthwave nostalgia that just makes me go DAMN! right when it hits. And the lead behind the growling vocals into the clean vocals was just so good in my headphones.
Rising post-rock/metal guitars and ringing keys open “Static Repetition”. With an aura similar to Botanist or even later Smashing Pumpkins, it has that aura-setting opening feel to it. Before the easy feeling goes out the window with Murphy’s gutturals and double bass beneath her. Bertrand’s drumming really adds complex and unique sections to the track. With moments that create a nice, bouncy and groovy feel to it, with others adding a djent-like Meshuggah dynamic to it. The band does truly aim to be a leader in the modern-era of post black metal/progressive black metal sound with this album. With such dynamic shifts in pacing, musicianship, genre hopping, all while adding blast beats and growl vocals.
“Fragile Tranquility” opens with pummeling drums, gritty vocals and choir-like vocals that rise amongst the bombastic drumming and guitars. With many elements of djent-like 8-9 string guitars and brutal drumming by Bertrand, the song starts as the heaviest so far, before Murphy and Thomas switch the song up again to that dreampop/ethereal soundscape with her vocals truly carrying the weight of the song. With vocals delivering reflection, empathy, regret and optimism all at once. That guitar lead right before the halfway mark, starts off with a Vai-esque lead of ambience, hope and positivity, before the drums and bass come thundering in to bring in down to the depths as the song returns to the black metal roots the band takes inspiration. Progressive metal in nature, the song is another great example of the band dipping into different sandboxes and see what they can bring into their sound and making it work to almost pin-point accuracy and perfection.
The album closes with the track “Mournful Ambience”. Opening with haunting and dark piano that echo in the mix, filling the space of the production. Just as Murphy matches it with soft, whisper like vocals that are accompanied by thumping strings beneath her. With synth pieces rising and fading, it creates a dynamic, perplexing and eerie closer to the album. With the piano bringing that crooner-like sound from “Slipping Burgundy”, but further developed by arpeggiated strings, Murphy’s clean vocals and warping strings. Bass adds a heartpumping section beneath the vocals, creating a far-out there, headphone-enjoying section that closes the album in an odd, decompressing and relaxing aesthetic as the journey of this album comes to a close.
Bioluminescence is what I wanted Dawn of Ouroboros to do with their follow up to Velvet Incandescence. I wanted the band to push their sound even more, challenging the listener and genre-pushing and they did that perfectly (especially on “Slipping Burgundy”). I LOVE bands that are hard to put into one genre or one box and Dawn of Ouroboros truly nailed it with this new record. It was an album that made me love the band even more, making the band potentially my favorite modern black metal band with how much they experiment with their sound, fearless on what they do with their sound, and how they have gotten better with every record so far. I HIGHLY (and I mean HIGHLY) recommend this album with it’s unique and creative depths the band did with this album and like I said in a previous review for another site, I CANNOT wait to see where the band goes from following this release.
SCORE: 5 / 5
You can purchase the album on the band’s Bandcamp page or save it on their Spotify. You can also check them out live on their album release tour with support from Wolf King. Check out tour dates and pick up tickets HERE.
