Ambition is the fuel for creation.
Creation itself cannot be self-sustained, but must be catered to and given ample foundational support from conception, catering to the well-being and preservation. Much like bringing a child into the world, or nurturing a new dream, a music project, a novel, a skill, all requires constant care, attention and support in order to ensure they will survive in the ever-evolving world. Support can be as simple as giving one breath, as oxygen revitalizes the millions of cells that make up the control center of the body, we nourish ideas through thought. Expansion begins and before you know it, you are a quintessential part to the reality occurring before us. When talking about his career-defining Comic bookbook as well as talking about the fear and excitement of having children, Brian K. Vaughn described creating his independent work, Saga as; “The perils of trying to make new things in a world that doesn’t always seem to want new things.” Anything can come from an idea, but it is apparent to me that after 25 years, ideas that survive are those that involve an abundant amount of support, driven by ambition.
“Taming Lions” and “Clocks” are the initial releases by British Metalcore band, Oceans Ate Alaska. The band formed while at Birmingham University in 2010. “Taming Lions” was initially released on July 28 and “Clocks” later released on Aug. 26.
It’s worth noting most bands usually start with an EP, unless they already have material under another label, or as a different outfit (a different band that played a different style of music). However, much like Saosin’s “Translating The Name EP” the two singles were released as a teaser to garner attention for their debut in 2012. That being said, the band’s efforts are well noted, capturing both the band’s talent and ambition in just two tracks that ultimately carried them into the anticipation for their debut EP’s release.
“Taming Lions” is an organic mixture of ambition and a spectacular, genre-encompassing initial track. The track begins with a hardcore-metalcore infused groove and eases in with a slowing rhythmic guitar groove. Vocalist and lyricist, James Harrison’s lyrical prose melds with both the hard, rhythmic angst of the song’s complexities and genre-catering melodies. Audible tensions push and pull between the rhythm guitar and Chris Turner’s motor-esque drum, highlighting Harrison’s large vocal range, which includes both unclean and clean performances.
However, it is important to note, there is a melodic, technical skill Turner has in developing interesting polyrhythms and his incredible ability to play fast. Most apparent, however, is Harrison’s performance; strictly aggressive and guttural, with lyrics highlighting an implicitly hierarchical system among the listener.
“You’re no match for me/’Cause while you’re busy counting sheep/I’m taming lions in my sleep/Like a pack of wolves/I’ll hunt you down, single you out/And claim back our crown.”
While implicitly acknowledging listeners as a challenge to overcome, “vanquish,” Harrison’s aggression seems to meet the difficulty implied in pursuing music, or to acknowledge the ambition in attempting to create something new in metal. The true lyrical ingenuity comes with the outro of the song where Harrison ends with “We’ve made this town our own/They’re calling us out, they’re singing so loud/So step aside, ’cause tonight’s our night/We’re singing our hearts out.” This line celebrates not only making fans but, more importantly, successfully getting listeners to believe in Harrison’s effort.
“Clocks” seamlessly delivers and carries with it the same heaviness and push-pull tension as the previous track. Turner’s drums on this track are the focal point and ultimately are one of the primary reasons why the band as a whole is so prominent today. Turner’s drums frame the track in keeping with the theme, keeping near perfect time and alluding to the “tick-tock” of a clock numerous times throughout the track. Harrison’s vocals assume a more aggressive tone throughout the track. Where previously he leaned into melodic vocals, this track highlights Harrison’s ability to quickly snap from unclean to melodic vocals. While also employing Turner’s rhythms as a vehicle to propel the track forward through the intricate dooming, guitar work of both James Kennedy and Adam Zytkiewicz.
Both singles make for a fantastic exhibition of ambition meeting talent. While polyrhythmic drums could already be found in the metalcore genre, Chris Turner’s ability to infuse rhythms within rhythms was something the metalcore genre had yet to see at the time, ultimately garnering the attention and following the band needed to make their debut EP a success. Even if the band simply given up after the release of their first EP or full-length album, it still would have been an effort well spent.
5/5
