Seems like years ago that Cammie Beverly of Oceans of Slumber announced a side project called Genoa. Based on her description, I was highly anticipating it. Well, that project has finally come to fruition, swapping out the old name for her own. The album is called House of Grief and it released on February 21st.
Cammie is the vocalist for progressive metal band Oceans of Slumber, and you’ve probably heard guest spots with her through Swallow the Sun and ISON, among others. She and her husband Dobber, also of OoS, have crafted an album that is quite different than their past works.
The music here is essentially genre-less; simultaneously quite diverse and also drenched in the same sort of atmosphere. So, some of the songs have burning electronica and dynamic drums, others sound like Southern Gothic, others are more singer-songwriter material. All of them, however, are profoundly emotional, lyrically raw, and overtly dark.
Now, I’ll be straight with you: this album is about 28 minutes long. Some would call that an EP, but I see it as an album because it feels like one. It has the emotional arc, the opener and the closer, and what I see as a peak in the middle. But, I’ll tell you what: if you think this is too short, why not pick up Dobber’s own recent solo release The Mourners Songbook and make yourself a little playlist? I won’t go too deeply into that record here but suffice it to say that it’s about 20 minutes long and features excellent instrumental/piano tracks that often carry the same moody ambience as Cammie’s record. I myself am planning to alternate the two albums’ tracks and make myself a little fifty-minute gem.
Now, back to House of Grief. I said there is a peak in the middle, but I don’t mean in quality. I’m referring more to the lyrical potency. I see the album in two halves, but I love them both equally.
The title track opens with a nice, bouncy piece with drums and piano, and atmosphere in spades. I like how Cammie emotes with quiet energy. “For the Sake of Being” comes next, and is significantly different; it has the burning synth background, the interesting song structure, the plucking strings. It’s an odd track, I think on purpose, and I absolutely love it. “Running” follows and feels like a peaceful stream of emotions. It isn’t energetic, per se, but still flows incessantly and beautifully. “Paraffin” ends the first half with blunt lyrics that don’t mince words; I love it right away for that characteristic, but I also love Cammie’s vocals here, reserved but somehow still powerful.
I see the final three tracks as the second half together mainly because they connect so well. “Another Room” has electronica and drums again, and also this slightly fuzzy feeling and bright harmonies. It’s one of my favorites. “Rivers” flows right out of it in my mind, being an acoustic ballad full of expression and soul. The album closes with a haunting, gothic piece “Kiss of the Moon”; it sort of has that same fuzzy spirit about it, as if floating free at last, finding peace in the dark serenity of the night.
Cammie’s debut doesn’t disappoint. One can feel the pain and sadness within this record; it feels overwhelmingly authentic and human. House of Grief is full of storytelling power, boldness and memory. It doesn’t last long, but it certainly makes an impact.
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Find Cammie Beverly online:
The Mourners Songbook Bandcamp
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The PROG Mind 