The Third Sleep is the fourth album from Norwegian progressive rock band Oak. Since their 2015 debut, Lighthouse, the band have continued to develop their characteristically intense, dark and atmospheric sound, with its haunting melodies, complex rhythmic counterpoint and exquisite vocal layering. In all four albums, acoustic and electronic textures are expertly blended and juxtaposed to craft richly evocative soundscapes and memorable musical narratives. Their lyrics are reflective and intelligent, using powerfully emotive imagery to probe deep into the darker aspects of society and the human psyche, inspiring music that communicates directly with the listener in a profoundly emotional way.
The third stage of sleep is the deepest in the human sleep cycle, and the most difficult to awaken from. The lyrics of The Third Sleep, according to the band, are ‘a striking exploration of societal complacency and the struggle of the individual’, and abound with claustrophobic images of hibernation, burial and drowning, together with vivid contrasts between light and darkness. The musical language undergoes constant variation within and between each track, ranging from folk-inspired acoustics and atmospheric electronica to the heavy, distorted soundscapes of progressive metal.
The opening track, No Such Place, features lyrical images of hibernation under frozen ground, perhaps symbolising political or psychological repression. The opening, with its strummed acoustic guitars and sense of repressed energy, owes much to Opeth, notably the track ‘Harvest’ from Blackwater Park. This similarity is reinforced by both songs’ use of the Dorian mode – a folk scale that combines both major and minor key characteristics, creating an intriguingly ambiguous harmonic and melodic landscape. Simen Johanssen’s smoothly melodious vocals have a folk-like clarity and delicacy here, enhanced by those glorious harmony vocals and soaring descants that first won me over to this band’s music. The plaintively lamenting saxophones that enter after the first chorus, and return to bring the track to a poignant close, intensify the emotional impact and bring warmth to the otherwise rather sombre sonic palette.
After the acoustic intimacy of the first track, London feels like a nocturnal scene from an art movie, with its uneasy atmosphere generated by prominent electronica, metal-derived distortion effects and obsessive, mechanistic rhythms. The lyrics reinforce the theme of light and darkness, and relate an unnerving allegory of lost travellers seeking refuge from the night in an empty house that is haunted by their own ghosts. As the track opens, a combination of looped rhythms on percussion and electronica is overshot with bleak piano and Øystein Sootholtet’s fuzzily distorted bass, creating a nightmarish sense of menace which persists throughout the song.
The more up-tempo and energetic character of Run into the Sun contrasts effectively with the more restrained London. Syncopated accompaniment patterns and Sigbjørn Reiakvam’s tightly rhythmic drums propel the music forwards, reinforced by the upwardly running figure that characterises the catchy chorus melody. The second chorus leads to a nostalgic and otherworldly instrumental waltz, led by a succession of solo instruments over a hazy background of gentle piano and mellotron strings. Wordless voices entwine to create meltingly poignant vocal harmonies reminiscent of Steven Wilson/ Porcupine Tree before the track closes with a reprise of the chorus, intricately harmonised by interwoven instrumental and vocal layers.
The distinctive chord progressions and lyrical imagery of Shimmer deliberately reference Stars Under Water from Oak’s debut, Lighthouse. The verses, with their electronically processed accompaniments and ominous vocal delivery deep in Simen’s lowest register, contrast effectively with the more animated and lushly orchestrated chorus. The track closes with an enigmatic coda in triple time led by elegiac piano, its melancholy harmonies suggesting a funereal waltz. The texture slowly thickens as diverse instrumental effects step up to add their voices to the ghostly procession, then evaporate into the mist.
Shapesfifter is aptly named, being full of sudden changes and vivid contrasts. Lyrical motifs of falsehood and denial alternate with a longing for the lost simplicity of childhood. The track opens with violent and striking images:
Eyelids of ashes to keep the sun out
A thirst for salt water to flush it out
The musical mood during the verses is bleak and introverted, with Simen once more exploiting the dark lower registers of his voice accompanied by a desolately chiming guitar. In the more energetic chorus the stark lines are momentarily softened and embellished by rippling curlicues of acoustic piano and intertwining vocal harmonies. A spellbinding instrumental episode in 7/4 time is introduced by hypnotically looped patterns on keyboards and guitar. Like an orchestrated display of fireworks, a series of contrasting melodic and rhythmic elements gradually join the texture to flash and sparkle in ever more intricate counterpoint, combining bright, bell-like splashes of colour with the darker tones of drums, bass and low electronica. After an enjoyably catchy, folksong-like chorus an impassioned guitar break from guest Dave Foster brings the track to a final thrilling climax, supported by energetic drums and atmospheric mellotron strings.
Lyrically, Borders presents a stinging indictment of the hypocrisy and complacency of modern society. Musically it offers an addictively enjoyable white-knuckle ride of stirring melodies and irresistibly energetic rhythms. A restless whirlwind of urgent piano, emphatic drums and aggressive bursts of distorted guitar introduce the relentlessly galloping triplet rhythms that dominate the track. Simens’s impassioned delivery and broken phrases suggest breathless desperation, and this tension mounts during the imposing chorus, with its muscular drums, darkly intense harmony vocals and sense of barely repressed anger. A chanted whisper, like the pounding of hoof beats, – We’re coming, we’re coming …Keep breathing, keep breathing – takes up the galloping rhythm, faint and distant at first but drawing inexorably closer. A polyrhythmic dialogue between piano and drums offers a moment of respite before the galloping triplets return in force, rise to a thrilling crescendo and abruptly judder to a halt.
Sensory Overload addresses society’s current obsession with superficial fame and physical perfection, at the expense of discovering inner truth and fulfilment. Grim, crashing piano chords and deep, imposing drums provide a portentous introduction. The chorus brings brighter harmonies and lush vocal layering, but this illusory brilliance is as short-lived as the ‘neon sunlight’ of the lyrics, and cannot hold back the nightmare to come. Ominous drums, screeching electronica and dissonant off-beat guitars are joined by the frenzied wails of saxophones, as layer after layer of strident sounds clamour for our attention. Sensory overload indeed! As the tension mounts Simen makes dramatic use of growling vocals to bewail
All for all and one by one into fame and despair”.
There are no happy endings here, and after spiralling towards dystopian chaos the album ends on a hollow electronic monotone that slowly decays into silence.
The Third Sleep is an enjoyable, profound and complex album that draws you in by stealth, creeps under your skin and lingers in your mind long after listening. It is an album of contrasts – light and dark, accessible and challenging, understated and dramatic, warmly acoustic and bleakly electronic– skilfully fused into a cohesive and rewarding listening experience. Like the evocative and poetic lyrics, the music abounds with vivid and haunting images whose actual meaning is left open to interpretation. The standard of performance is excellent throughout, combining outstanding emotional sensitivity with modestly unobtrusive rhythmic sophistication. Particular mention should be made of Simen’s remarkably expressive piano which complements and enhances every musical mood, drawing each track together like a magical thread. If you are already a fan of Oak, The Third Sleep will not disappoint; if you have yet to discover their intensely atmospheric musical style, this album is a great place to start, but be warned; it may reel you in and never quite release you from its spell.
TRACKLIST
01. No Such Thing (6:06)
02. London (4:20)
03. Run Into the Sun (5:34)
04. Shimmer (7:36)
05. Shapeshifter (7:58)
06. Borders (6:24)
07. Sensory Overload (8:12)
Total Time – 46:10
MUSICIANS
Simen Valldal Johanssen – Vocals, Piano, Keyboards
Sigbjørn Reiakvam – Drums, Percussion, Synths, Programming
Øystein Sootholtet – Bass, Acoustic Guitars, Synths, Programming
~ With:
Stephan Hvinden – Electric Guitars
Steinar Refsdal – Saxophones
Dave Foster – Electric Guitar Solo (5)
ADDITIONAL INFO
Record Label: Karisma Records
Country of Origin: Norway
Date of Release: 25th April 2025
