Review Summary: No longer just a band with unfulfilled promise, Dawn of Ouroboros has finally arrived.
What a difference a few years makes. Dawn of Ouroboros has always been a good band, but they’ve never been essential listening. Their unique fusion of post-black metal and progressive death metal had promise yet it often fell short of its potential. A key issue was their under-use of vocalist Chelsea Murphy. While her screams and death growls were excellent, her clean sections generally felt underdeveloped and underutilized. This description fit their musical output, as well. While the band regularly introduced intriguing ideas, they often felt underdeveloped and underutilized, surrounded by a repetitive black metal formula that lacked a truly compelling edge.
Again, what a difference a few years makes.
Their latest single, “Slipping Burgundy,” shatters all these past limitations. It opens with a slow jazz-infused section, setting the stage for Chelsea’s sultry clean singing, and both elements feel fully realized and impactful. When the heavier section does arrive, the band bypasses the typical black metal tempos in favor of something more atmospheric and brooding augmented by a droning guitar melody and Chelsea’s blackened rasp. As the song further progresses, shifting tempos, evolving guitar melodies, and dynamic musical transitions create a sense of depth and progression. A climactic guitar solo and atmospheric keyboard arrangement close out the track after a second round of clean vocals. The most significant factor is that each section feels fully developed and is given the space to leave a lasting impact—although I do wish the second clean singing passage had maybe lingered a bit longer.
Slipping Burgundy’s same level of refinement extends to the entire album. Despite drawing from a vast range of influences, every song feels cohesive and fully realized delivering memorable and compelling sections. That compelling nature extends to Chelsea’s clean vocals which take on a more prominent role than ever before, sounding more powerful, memorable, and commanding. Even the black metal sections, which used to often feel stagnant, sound fresh thanks to drummer Chris Stropoli. Instead of relying on standard blast beats, he injects each passage with creative, intricate rhythms that give these moments their own unique identity. The guitar work has also evolved significantly, showcasing melodic black metal riffs, doom-inflected leads, expressive solos, and even flashes of atonal Ulcerate-style dissonance. Above all, the band’s grasp of dynamics has seen the most improvement. While Dawn of Ouroboros always embraced musical shifts, the individual sections often felt too uniform in execution. This time, however, tempo changes and stylistic diversions feel purposeful, inventive, and expertly crafted.
It’s hard to believe it has only been five years since Dawn of Ouroboros released their debut album. With their latest album, Dawn of Ouroboros has fully come into their own. What once felt like glimpses of potential has now been solidified into a confident, fully realized sound. The band’s dynamic range has expanded, their songwriting is more intricate yet more cohesive, and every musical choice feels intentional and compelling. Chelsea Murphy’s multi-faceted vocals now receive just about equal time between screams and clean singing while the instrumentation balances intensity and atmosphere with sophistication. No longer just a band with unfulfilled promise, Dawn of Ouroboros has arrived as a significant presence within the genre.
