Style: Progressive rock, progressive pop, art rock, electronica, post-rock (clean vocals)
Recommended for fans of: Katatonia, Steven Wilson (all), The Pineapple Thief, Gazpacho
Country: Norway
Release date: 25 April 2025
Dust off that box of corpse paint you haven’t touched since Halloween 2022, because woodland-monikered Oak are taking us to the grim forests of Norway. Delivering a blasphemous brand of black metal, the band… no, wait, this doesn’t sound like black metal at all. This is actually a clean, artsy take on progressive rock. And was that an electronica section? This Oak clearly isn’t the typical tree of the frozen north’s dark timberlands. Ah, that’s right, we’ve even covered these guys before. My bad. Put away that corpse paint because there’s no black metal to be found here. Or is there?
The Third Sleep picks up right where Oak’s previous album left off, providing another highly listenable and densely melodic slab of progressive rock. The band’s work rings familiar: melancholic passages drawing clear inspiration from Katatonia and Steven Wilson are scattered throughout, and tinges of the softer sides of Opeth and Ulver can also be heard. But Oak spin their influences into a style unmistakably their own, due in part to how well they weave electronica into a more common, moody prog-rock sound. Vocalist Simen Valldal Johannessen also has a distinct, emotive baritone that colors the music a darker shade. Johannessen takes on piano duties as well, and the instrument plays a significant role as the album’s main melodic driver.
Pensive yet poppy, Oak craft nuanced prog that stays remarkably accessible. Right from the opener, “No Such Place,” Johannessen effortlessly carries a tuneful vocal melody over a 5/4 verse while accenting acoustic strumming with his piano. The song also features a soulful saxophone solo—one of several on the album. A couple of tracks later, “Run Into the Sun” delivers a real earworm: the chorus is infectious, something fit for the radio on its surface. However, a deeper listen reveals an impressive interplay between a guitar lead and piano melody underneath. “London” has a similarly singable chorus, but incorporates some slick rhythmic guitar punches and drumming far more dynamic and complex than a typical pop chorus. The song’s verse is another instance where intricate playing meets listenability, with a wandering fuzzy bassline and synth textures driving behind Johannesen’s crooning.
Although The Third Sleep leans on conventional song structures, each track has at least one extended instrumental detour, often post-rock in feel. The lead single “Shimmer” is a shining example: after primarily following a verse-chorus pattern for its first half (with some really great percussion, I might add), the track is stripped down to simple bass, drums, and piano. Additional instruments and textures are then layered in patiently before it all swells gently and resolves. It’s a lovely listen, the song’s back half providing over three minutes of mellow instrumental bliss. “Borders” pulls a similar trick in its second half but centers around programmed drums and a somber, lingering synth. “Sensory Overload,” meanwhile, has a noisier and heavier bridge at its midpoint, at times including dissonant distorted keys and cacophonous saxophone. Oak’s ability to combine conventional song structures with these detailed and varied instrumental explorations makes The Third Sleep incredibly listenable and fulfilling enough to revisit. The album’s warm, clear mix helps bring it all together, allowing plenty of space for each instrument—real or programmed—to breathe without the whole package sounding sterile.
Despite the album’s various textures and clear craftsmanship, though, it lacks exceptionally memorable or compelling passages—no true peaks. The Third Sleep isn’t middling prog, but it’s quite safe for the most part: it’s the kind of release you bring home to meet Mom and Dad; you then settle down, get that spacious two-story house with the yard and white picket fence, grow old, and retire comfortably. It’s a good life, not necessarily boring, but without major excitement. That’s The Third Sleep. An exception to this suburban dream (or nightmare) of a metaphor does come with “Sensory Overload,” ending the album—much to my surprise—with a minute or so of something bordering on straight-up black metal (better bring that corpse paint back out!). The section is complete with double bass drumming, a riff not far from a blackened tremolo, and demonic growls. And although I appreciate the section’s unexpectedness, it’s more memorable for its surprising nature than execution—it’s a fun touch, but not much more.
Even if The Third Sleep doesn’t have any moments as astounding as I’d expect from a band so capable, I can repeat exactly what we said about Oak’s last album: “There’s still a hell of a lot here to enjoy.” The Third Sleep is engaging in its variety and detail, gorgeously produced, well-performed, and accessible enough to bring home to your parents—just don’t let them catch you donning your corpse paint for that final passage.
Recommended tracks: London, Run Into the Sun, Shimmer
You may also like: Jonathan Hulten, Bruce Soord and Jonas Renkse’s Wisdom of Crowds, Playgrounded, Haven of Echoes
Final verdict: 7/10
Related links: Bandcamp | Spotify | Facebook | Instagram
Karisma Records: Bandcamp | Facebook | Official Website
Oak is:
– Simen Valldal Johannessen (vocals, piano, keyboard)
– Sigbjørn Reiakvam (drums, percussion, programming, keys, guitars)
– Øystein Sootholtet (guitars and bass)
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