{"id":3740,"date":"2016-11-02T11:24:27","date_gmt":"2016-11-02T11:24:27","guid":{"rendered":"https:\/\/alreadyheard.com\/staging\/versus-foes-on-oceansize-everyone-into\/"},"modified":"2023-04-21T01:12:44","modified_gmt":"2023-04-21T00:12:44","slug":"versus-foes-on-oceansize","status":"publish","type":"post","link":"https:\/\/alreadyheard.com\/staging\/versus-foes-on-oceansize\/","title":{"rendered":"Versus: FOES on Oceansize (\u2019Everyone Into Position\u2019 vs\u00a0\u2018Frames\u2019)"},"content":{"rendered":"
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In the early days of Already Heard, we used to run a regular feature called \u201cVersus\u201d<\/b><\/a>. The concept revolved around a chosen band where writers would defend<\/i> that band\u2019s best record to date. Occasionally, guest writers from various labels and bands would come in and support their favourite album for a particular band. Today, we\u2019re reviving the \u201cVersus\u201d<\/b> concept with a twist.<\/p>\n

Last month, Liverpudlian group FOES<\/b> released their debut album – \u2018The Summit Lies Skyward\u2019<\/i>. Through a range of cinematic prog rock, post-rock and alt-rock, ‘The Summit Lies Skyward\u2019<\/i> has been gaining plenty of praise in recent weeks.<\/p>\n

For this edition of \u201cVersus\u201d<\/b>, FOES<\/b> guitarist Joe Danher and bassist Josh Catchpole have squared off as they take a look at two albums from influential band – Oceansize<\/b>.<\/p>\n

Having formed in 1998, the Manchester-based band developed an acclaimed reputation for a range of albums and EP releases before calling it quits in 2011. With a sound that stretched various genres; prog rock, space rock, post-rock and post-hardcore, Oceansize<\/b> have gone on to influence a range of bands such as Black Peaks, O’Brother and more.<\/p>\n

Read on as guitarist Joe Danher explains why 2005\u2019s ‘Everyone into Position\u2019<\/i> is the perfect introduction to Oceansize<\/b>. While Josh Catchpole highlights 2007\u2019s ‘Frames\u2019<\/i> as their best work.<\/p>\n

\"\"Everyone Into Position (Joe Danher)<\/h2>\n

For me, ‘Everyone Into Position\u2019<\/i> was the album that cemented Oceansize as one of my all-time favourite bands. Bookended by ‘The Charm Offensive\u2019<\/i> and ‘Ornaments \/ The Last Wrongs\u201d\u2019<\/i>\u2019 serving as the perfect open and close to the album respectively, the album is an absolute master class in modern progressive rock. Furthermore, it fuses this technicality with an air of pop sensibility that ensures the the tracks are as accessible and hook-laden as they are musically intricate.<\/p>\n

The dynamic range of the album is unrivalled, with ‘A Homage To A Shame\u2019<\/i> showcasing the band at their most savage, whilst the serene ‘Music For A Nurse\u2019<\/i> rest on the laurels of post-rock crescendos accompanied by a heartfelt vocal performance from Mike Vennart dealing with the loss of a loved one.<\/p>\n

<\/p>\n

I\u2019ve read that ‘EIP\u2019<\/i> was a difficult second album for Oceansize<\/b> in that they felt the pressure to find a commercially friendly middle ground in their sound – at least more so than on debut album ‘Effloresce\u2019<\/i>. However, whether a laboured effort or not, I think it\u2019s a balance they\u2019ve mastered perfectly. Whilst picks such as ‘Heaven Alive\u2019<\/i> and ‘New Pin\u2019<\/i> were the clear choice for singles, they are nonetheless engaging in their comparative straightforwardness to the rest of the album. In my eyes, ‘Everyone Into Position\u2019<\/i> is a record that serves as a perfect introduction to an incredible band who, to this day, is sorely missed.<\/p>\n