Seven songs, twenty-seven minutes, one killer album. That’s right, Veinmelter (proper name Winston Harrison) released ‘An Endless Ocean’ back in October, and it is an absolute treat for your ears.
A delightful follow-up from his debut EP ‘Still In The Air’, there’s a lot to unpack in this album, each song peeling back a new layer of this dark yet ambient tale.
Practically all of the songs seem to follow the same pattern – gentle at the start, wild at the end, which is nice. Striking a perfect balance so you don’t feel too under or overwhelmed, it would be boring if done by anyone else, but somehow, Harrison makes it work. ‘Starstreams’, the opening track, acts as the perfect example of this. Starting off slow and sad, you can’t help but be drawn into what’s being sung; it’s like a lullaby, if not more melancholic than what you’re used to.
The low thumping of the bass that forms the backbone of the song gives it a distinctly warm and dizzyingly addictive charm. As the track progresses, the tone shifts to something slightly angrier alongside the pace picking up, turning from something akin to a pleasant stroll to a gruelling marathon before eventually bursting into a cluttered frenzy of noise that gives the song a slightly trippy quality, leaving you not quite sure what you should focus on.
For a starting track, it’s undeniably good and leaves you intrigued to discover what the rest of the album entails.
‘Unalome’ and ‘We Go In’ aid in continuing the journey forward. Both take a slower start; for example, the strummed acoustic guitars that kick off ‘We Go In’ act as a nice comedown from the chaotic endings of each song, slowly building that energy again as the cycle repeats.
Slightly spooky yet charming, ‘Unalome’ derives its name from the Buddhist symbol that represents the path to enlightenment, and this theme rings true here. ‘An Endless Ocean’ is Veinmelter’s search for enlightenment, and by the end, you feel as though you’ve done the same. Sure, not all albums are set out to change your life, but this one does, even if unintentionally. You leave feeling lighter and almost spiritually renewed, provided with a refreshed outlook on the world as you’re sent on your merry way. It’s a testament to the musician’s talent and dedication to his craft and leaves me excited to see where he’ll go next.
The darker lyrics “today is the perfect day to die (‘Unalome’) / “you can take me with you when you go (‘We Go In’) fit the theme, and by the same hand, it would be amiss of me not to mention the vocals. They’re the highlight of the album, tender and vulnerable, which the latter especially showcases through its layered vocals, giving the song a choir-esque feel while still maintaining the gloomy undertones that underpin it.
There are many different artists heard throughout. From ‘Unalome’ sounding like something Antony Genn (The Hours) would release to the vocals in ‘We Go In’ having a David Bowie quality, to even ‘End of the Day’ and ‘Safe At Night’ resembling LCD Soundsystem, and We Were Promised Jetpacks, respectively. There’s something for everyone with this album, which, I think, is beautiful. You’re sure to leave satiated with what you’ve listened to and desperate to hear more from the American.
The guitars in ‘End of the Day’ are yet again the pinnacle of this tune. Veinmelter knows what he’s doing, and I have to hand it to him; it’s impressive. The intro to the track feels ethereal and almost Heavenly with its many strings, making you feel like you’re about to float away, and the rest of the song carries on much the same. A musical adventure with no clear end in sight, but that’s okay, you’re just happy to be there on the ride.
The next two songs have my favourite beginnings of any tracks off the entire album. ‘Fading to Ghost’ gives off strong tropical vibes. If you close your eyes, it’s easy to imagine yourself on the beach. Meanwhile, ‘Draw in the Sand’ has what I can only describe as techno, which helps to break up the rhythmic repetitiveness of the tracklist.
As much as the start of ‘Fading to Ghost’ is happy, the song has a much sadder undertone with lyrics including “feel nothing, like I’m not here”; it’s about feeling like you’re disappearing into the background, which is something that we’ve all felt at some point or another. The song is a nice companion in the loneliness that makes itself all too easy at home, especially on cold winter nights.
‘Draw in the Sand’ takes the crown for my favourite song; it has an irrefutable power to it that exemplifies Veinmelter’s voice the best.
There’s a lot going on in both tracks, from the whooshing ending of ‘Fading to Ghost’ and the swirling chaos which the latter presents us with. You remain gripped, ensuring that there’s never a moment of boredom.
Just like that, we’ve reached the final song: ‘Safe at Night’. The cinematic masterpiece that paints a mesmerising picture, it’s easy to see why this one’s been chosen as the one to end on. Furthering the ethereal narrative and giving ‘An Endless Ocean’ an overall dreamlike quality, it’s simply unfeasible to think someone would come out of the album without finding something they’ve enjoyed.
The lyric “Are you safe at night?” helps round out the album and its haunting themes in a way no other song on the tracklist could.
Harrison has been making music for years, and ‘An Endless Ocean’ showcases this. Starting off playing bass for Gabe Dixon and completing successful runs of shows before graduating to his solo project, Fuzzmuzz, and finally settling on Veinmelter, the album is a testament to his graft and sacrifices, which have resulted in this stunner of an LP.
An exploration of sound, textures, and newfound freedom, the album takes you on a gentle journey of discovery and soul-searching that leaves you feeling like a brand-new person by the end.
Written by Madi Briggs
