Ocoai
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Ocoai

Johnson City, Tennessee, United States | SELF

Johnson City, Tennessee, United States | SELF
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"OCOAI"

Remember Pelican in between the EP and Australasia? Sludgy, but going off in their newer, more multi-layered direction?

That's what I think of when I hear Breatherman, Ocoai's debut record. Hailing from Johnson City and Knoxville, Tennessee, Ocoai demonstrate stereotypical instru-metal, except they do it really, really well. Better, in fact, than any other band that has risen to the challenge since bands like Pelican, Isis or This Will Destroy You have made this type of music a worthwhile venture.

Not that Ocoai do everything those bands do/did. They draw from many places, it seems, moreso than most. An instrumental band's sound gets tricky once every other band has the same amount and type of pedals on their boards, but Ocoai just knows how to get different sounds from them that add to their atmospheric buildups before tearing into a Mouth of the Architect-type riff.

The bottom line is, yes -- this is instrumental metal. Yes, a lot of bands are doing it now. But Ocoai is different. There's more reliance on atmosphere before a buildup and dynamics than how heavy a riff is or how thick the wall of guitars sound. Ocoai should be in everyone's playlist who enjoys Pelican, Mono, Mogwai and even Stars of the Lid. - Punknews.org


"Breathe in Ocoai"

I originally discovered Ocoai through the through the magical invention of the website Last FM and its terrific database of bands. I was initially looking at the Mouth of the Architect section for information on the band and whilst browsing through the similar artists section, I came across this band -- Ocoai -- who’s strange name appealed to me immediately, standing out amongst their peers, so I decided to listen to a few samples of their material, and was hooked by the oceanic vibes that spilled off of the page and into my living room, drowning me in a sea of melodious riffs that stretched the soulful soundscapes far onto the horizon and beyond, into the surreal world of ambient sludge. Every once in a while a band who’s reputation proceeds them comes to town and headlines a sold out gig. These bands come with smaller bands in tow, bands like Ocoai and sometimes, though not often, these so-called lesser bands steal the show with a truly inspiring atmospheric showcase. Ocoai do not dominate this scene. They do not claim to. One day they might just do so though and this is why.

Just from a few samples, I was hooked on this familiar style of hybrid. There are two deviations from the standardised sludge genre that was conceived a number of years ago by pioneering bands like the fellow American act Neurosis. First, we have the sludge that deals with the traditional mindsets. Harsh soundscapes, harsh vocals. I’m sure you know the type. This prototypal sound isn’t my favoured style of sludge. It seems to sound too naïve, too immature. The vocals, especially. They become too tedious and too tiresome to me very quickly and this affects my eventual stuttering opinions of bands who implement this style into their music. The second breed of sludge sound is where I begin to fall desperately and despairingly in love. This style utilises the full width of the soundscapes, unlike the first type of sludge which moves uncomfortably around the same style, which is evidently where the beginning of the quick downfall takes place. It can be equated to a building being demolished. The building takes a long time to design and eventually construct, but it takes literally seconds to tumble to the ground in a heap of bricks after a controlled explosion.

Ocoai, fortunately, fall into the second category, allowing melody to flow simultaneously alongside the experimentation, who’s influence is high and mighty. ‘Manifestant’ is exemplary of the epic soundscapes that Ocoai abide by with their Isis inspired oceanic vibes. However, this isn’t merely a clone of Isis, no. This band implement instrumentation so experimental that it initially caught me off guard. There is a visible string section which I never expected to be imposed upon this delicious slice of ambient cake. Like a cherry on top, the violins, cellos and whatever else Ocoai decide to use is placed firmly, but with a gentle hand, on top of this masterpiece of sludge magnitudes. Though these areas are sparse, Ocoai demonstrate a belief that they can be the next pioneers within the genre that desperately needs bands to stand up and be counted for. The slowly entrancing guitars are used much like they would be in any post-rock, or shoegaze band, sometimes reminding me of the influential Slowdive, who’s presence is welcomed with open arms and a heavy heart due to the sombre soundscapes.

Listen to ‘Pour Rever’ for an example of this. The introduction to this song is so lush it makes me want to cry out my love for this band. Though I may have neglected them for the longest time ever, I advise you not to. This divine piece is a revolutionary brand of sludge, with subtle hints of the aforementioned genres; post-rock and shoegaze, which are becoming the norm in the metal scene which seems to have a love-hate relationship with these particular genres of music. Ocoai are undoubtedly a band with ridiculous amounts of potential. It doesn’t take a genius to see that. With songs like ‘Babble’ mixing the heavy wall of noise sound sludge has become lifetime friends with, and the joining in forces with subtle post-rock guitars and shoegaze soundscapes that tug at the heart strings with brute force. This emotive record doesn’t rely on vocals, thankfully, to spread the message of sadness across the depressed fields of lost love and negativity. As a black metal maniac, I’m used to bands using emotive styles to enforce the lyrics, but since this has no lyrics, Ocoai have to be more aware, more adventurous and they are, to the best of their abilities. Which, believe me, is to an especially high level. Higher than most bands will ever reach. For a debut record, this mature Neurosis and Isis inspired piece is immense (though these inspirations only come into full view when Ocoai really take off in sound -- with heavy and enduring instrumentation). Do NOT miss out. - Encyclopaedia Metallum


"The Electric Groove"

Being stuck in a forest for weeks upon weeks with no worldly food, no tap water from a dirty river and no real shelter. Eating plants and insects, drinking the creek water so I don't get dehydrated and sleeping underneath fallen trees so that the rain doesn't soak me. Ocoai's sophomore release "The Electric Hand" sets these kind of images into your mind with no problem at all. After they released their debut record "Breatherman" back in 2008, I was nothing but ecstatic to hear a brand new thriller from these guys. Progressive/Sludge/Post-Metal/Rock with a tear drop of orgasmic color, that is what Ocoai plays and it's all instrumental. In my eyes, nothing is better than an instrumental record, nothing! Hailing from Tennessee, let's see what these guys have to offer. Let's see if they can take you to unknown lands that bring nothing but beautiuful waterfalls and bright green grass.

Flowing as beautiful as the ocean on a cool summer day, "The Electric Hand" presents itself in a way that most records can't. Feeding you limbs of Progressive with the melodic sections but also giving you that sludge with those deep, dirty, filthy bass lines like on the tracks "Grimpeur" and "Marchand de Sommeil". Taking influences from Isis, Neurosis and Pelican, Ocoai seem to have found the parts to replace what they did wrong on their first record. Providing a very large canvas for you to paint almost anything on, even something so large it can scream volumes, Ocoai has finally seem to find out the way it's done and what they love doing. As the trees blow in the wind, you can lay on a beach while staring up at the sun wondering if tomorrow will ever have the same feeling as today did. "The Electric Hand", to me, seems to lay out short stories for each track. "Niveus Hills" paints a picture of desperation, heartache and an uncontrollable living situations where nothing ever goes the way the people want it to. Being trapped in a room with flashing lights surrounding the outside while you hear screams and yells simply begging to be let in before they get destroyed by whatever creature is out there. The more and more I think about it, I seem to be making the connection to the video game "Alan Wake". I have no idea why but the atmospheres this record creates and literally bring to life are very similar to the ones in the video game. Dark yet wonderful places with signs of hope and encouragement. "La Main d'Electrique", the most uptempo and monstrous track on the record when it comes to Sludge influence. As the story seems to deepen, become more bothersome in a way, "La Main d'Electrique" gives you that sense of just raw teeth on a barbwire electric fence. The closest thing I can compare "The Electric Hand" to would have to be just a mixture of some old school biker that has the longest beard you've ever seen, being married to a Queen of some country. They may not look like the best couple but the relationship has blossomed since day one and they get along very, very well. Ocoai does the whole Sludge/Post-Rock thing very well and if this record wasn't the way it is, I can't see myself even enjoying what it would of been.

If it's possible to have emptiness yet still have hope inside your broken heart, "The Electic Hand" is probably the record for you. Mountains with snow filled tops, rivers with eagles flying over the top so they can prey on their lunch, it's just imagery that Ocoai bring to the table and that's exactly why I love this record, let along the band. - Encyclopaedia Metallum


"The Electric Hand"

Ocoai delve into the darker realms of the human experience on The Electric Hand. They have moments of thick sludgy riff goodness, keyboard/guitar-centered repose on death, and the recurring restlessness of insomnia. There is material on here that dreamy post-rock fans will like, and others that sludge enthusiasts will dig; Ocoai succeed in bringing together light and heavy instrumentation conveying different moods and progressions of thought.

The "Waking Fear" arises out of delicate string work including two guitars and a violin, as touches of drums and bass accent the sound. Train sounds at 2:30 enter into a dark tunnel full of wild sound bouncing off the walls like that great scene in Willy Wonka And The Chocolate Factory. Strumming followed by picking leads into a sludgy riff on "Niveus Hills". A change of pace at 2:15, the sun has fallen and it's a free-for-all struggle. These are barren hills ridden with beings like that pictured on the album cover scavenging for food and resources. "Grimpeur" enters with some acoustic strumming backed by ghoulish drones. The word translates to "climber", the track climbs from an easy slope to steadily more complex instrumentation. Some tasty guitar licks at 3:00. At 8:30 the the two guitars, briefly sounding Eagles-like create a sense of openness which builds as the climber gets closer and closer to the peak. A great variety of riffs, tempos, and mix of instruments including a violin and organ makes this a dense track to behold.

"Somnium" has eerie distorted strings, wobbling background effects, and electronics. This song takes its name from a novel of the same name which is considered to be the first science fiction novel. It's a very spacey-ambient track, the listener is viewing the grandiose Earth from space and contemplating life from a wider perspective. "La Main D'Electrique" brings back the metal sound fronted by guitar riffs that sound like they are sound-tracking a chase in an old black and white horror film. This track has more vintage sounding riffs and drumming. Droning organ backs some to an eighth note drum beat, a merchant of sleep lulls the listener in on "Marchand de Sommeil". Methodical guitar notes enter back in around the 6-minute mark the band dips in an and out of sleep. It's the story of a man with a case of insomnia; he edges close to sleep, but his mind filled with drumming passions and longings to improve his life. "Morte Audaciter" starts with keyboards and a rhythm guitar a feeling of loss(Morte means death). It's an elegant peaceful ending to the album that paints the emotion of death through its minimal usage of keys and straining guitar notes.

The ideas and sound are similar to that of heavy instrumental groups that make music to paint pictures of dark scenery like Omega Massif and Earth. No vocals, moments of thick and sparse instrumentation, and scenic song titles are something that all three groups share. Ocoai have fused the worlds of post-rock and sludge metal to create a full-bodied analysis into some dark realities of life on earth.
- A Wrenaissance of Music


"Album Review"

Band: Ocoai
Country: Hollywood/Johnson City/Knoxville, Tennessee
Style: Progressive/Sludge Metal
Label: Missing Words

Experimentalism the the foundation for expansion in most things, and no different in music. The whole post-rock/metal scene produced the world some of it's most creative bands ever, but with that also came loads of thoughtless and uninspired groups. Ocoai has gotten a decent amount of word spread about them, but it was their bleak cover that caught my attention.
When you're a band who takes influence from Neurosis, and you're kind of putting yourself into an instrumental post-whatever sound, you're really setting a high bar to top. I feel the need to mention this because this album makes use of a sound that definitely owes a lot to that band, with this album, you get the typical build up and falls, but along the way you get some interesting instrumentation that includes a variety of instruments including piano, strings, additional percussion, sitars, and straight up noise. The integration of styles that, appear, to include prog-rock, folk, straight-up sludge metal, and symphonic music all into the post-rock sound, for the most part, aren't all that new additions to the sound, but they do make an important difference in at least the proficiency of the musicians performing it.
As for how this actually comes out sounding however, no matter how much the elements put together have all be done before, I have to say that this stuff is really good. I have to say that while some tracks are pretty typical for the post-rock/metal sort of thing, Niveus Hills, other tracks like Grimpeur really stick out due to how expansive they wind up sounding, the guitar solos especially. The prog elements of the band really stick out a lot more than many other groups I've encountered from this genre, as a track like La Main d'Electrique, which is probably my favorite track on the album, totally encompasses all things prog, making use of the old-school Hammond organ, some nice 70's blues-rock riffs, and the great solos. One thing I really thought stood out on here were the Pink Floyd-meets-surf rock vibes that a lot of the guitar solos had on here, listen to the intro on Marchand de Sommeil and you'll get what I mean.
Overall, I didn't come into this expecting much, but was very pleasantly surprised by how much I enjoyed this album. The lead work on here simply moves me each time I hear it, it's not overly flashing or technical, but it's full of emotion and melody. If you like progressive or post rock meets metal stuff, this is an album that I think you should definitely check out.
Overall Score: 8
Highlights: Grimpeur, La Main d'Electrique, Marchand de Sommeil - Don't Count On It


"Unsigned and Unholy: MOAR GUD BANDS"

Like a trippier but no less ambitious Neurosis. I actually like this band more than I like Neurosis — which isn’t saying a whole lot, because I don’t like Neurosis much — but I’m really getting into Ocoai’s slow grooves and atmospherics. Great music to chill out and smoke a bowl to. Bonus points for the slide guitar in “babble.” - Metal Sucks


Discography

Full Lengths:
Breatherman
The Electric Hand

Split Releases:
Peacecreature

Compilations:
Falling Down I
Falling Down II

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Bio

Ocoai is a 5 piece instrumental band from East Tennessee, formed in the summer of 2006. They are signed to Missing Words Records in Southern California, and record at Fahrenheit Studios in Johnson City, TN. Their sound has been called everything from post rock & doom metal to Pink Floyd killing a dinosaur. Whatever the categories they've been put into, mainy they're a loud rock band that loves what they do & the bandmates they're doing it with. Having started as a 4 piece, losing an original member & gaining 2 new ones, Ocoai have a sound that has evolved over its six year life span.

Live, they incorporate guitars, drums, cello, & keys, while in the studio they've been known to include violin, synth, percussion, & many other noise making devices in their music. Whether performing in a club or creating in the studio, Ocoai is making music that they enjoy, regardless of the consequences or categorization.

They have a debut album, released in 2008, entitled Breatherman. In the early spring of 2010 they released a split with other bands from around their East Tennessee home. It is called Peacecreature, and has music from Panzer, Dormia, and Generation of Vipers. Their most recent album, The Electric Hand was released in the spring of 2011.

Hopefully listeners will gather joy from what they do & spread both the feelings they experience & the music that stirred those emotions. That is what Ocoai is all about.