Whenever I hear the word ‘Oversize’ in a musical context, I tend to think of the song ‘Oversized’ by Basement. Yes, I’m aware they’re not the same word, but indulge me. Because in this context, I think that particular synaptic link is pertinent. And here’s why. Oversize are a British, alt-rock/metal adjacent band who trade in huge walls of washy guitars, with clean, languid vocals and a general semblance of lackadaisical intensity, as contradictory as that might sound. Not unlike another band who spring to mind. But actually, in spite of some of the cosmetic similarities, there aren’t too many other aspects I can point to that will support this rather tenuous link I’m fabricating. (It’s almost like a double bluff or something…?!)

Because there are more obvious FFO I could use here, and bands who are, (commercially speaking, at least) more successful as well. The most obvious of whom might be Deftones, or maybe Superheaven? Or even Title Fight? If you’re familiar with the references I’ve just made, then you probably have a decent idea of what Oversize sound like. Mid to low-paced alt-rock, leaning heavily into lush, distorted but delightfully enveloping guitar lines. A rhythm section who, though clearly talented, spend maybe 80% of their time in relatively workmanlike behaviour, occasionally opening up their horizons, to allow a chorus or refrain to land. Which is possibly a very apt piece of language, since they rarely take off to the extent I’d truly like.

Let me drag this back a little. I like all of this stuff, I really do. But I shan’t pretend I don’t have some misgivings around this record. And they surround memorability. I enjoy the record when I’m listening to it. I enjoy the sonic textures of it, particularly. But if I were asked to pick a single to release from this record? I think I would struggle. The vocals are relatively one-note, exacerbated by being buried quite deep in the mix (is that a deliberate choice or not?) which means vocals hooks are hard to identify and lyrics that could otherwise be the focal point of a potentially ‘big chorus’ are also ocasionally lost. It’s almost akin to the way that one might engage with a black metal vocal insofar as being present, an innate part, but not necessarily drawing focus for the most part. And I’m not sure that’s ideal when making this kind of music.

“The Incline” generates a sense of insistent propulsion, “From The Hell” offers a departure from the more typical song structure, and the title track, which is also the album closer, dares to breach the 5-minute barrier (none of the other 9 songs are beyond 4 minutes) and also deigns to introduce some more complex interplay between the rhythm and lead aspects. But it never reaches anything particularly adventurous if I’m honest. Ultimately, for a record that apparently focuses on grief and the experiences surrounding it, there does, for a lot of its runtime, seem to be an absence of tangible emotion here. Which is frustrating, because the sound of this record is great.