Bioluminescence describes a chemical reaction occurring within living organisms to produce light. This is an apt metaphor for Oakland, California’s Dawn of Ouroboros and their iridescent combination of two disparate songwriting techniques. According to the promo material, guitarist Tony Thomas1 takes a methodical approach while vocalist Chelsea Murphy frequently lets improvisation take the reins. The results so far have elicited mixed reactions from our writers: Master of Muppets2 sagely noted great potential in their debut, whereas follow-up Velvet Incandescence was largely lost on Itchymenace,3 who found it too stylistically inconsistent. I, however, was less bothered than Itchy by the sharp twists and turns of Velvet Incandescence (it even squeaked into my 2023 top ten(ish) list), so I stood ready to rush to Dawn of Ouroboros’ aid with plenty of cortisone cream for the release of Bioluminescence.
If there’s anything we three reviewers can agree on, Dawn of Ouroboros’ sound is nigh impossible to encapsulate using other bands or even entire subgenres as easy reference points. They mix contemporary black and death metal in a similar manner as Vintersea, but instead of melodeath as a secondary influence, they favor the thoughtful post/prog of Dreadnought. As most bioluminescent life is found in the ocean, the musical tones fittingly evoke aquatic imagery. Many of the vocal and guitar melodies are lush and floaty (“Bioluminescence,” “Slipping Burgundy”). Other times, the rhythm section pulsates alongside spiky synth lines, roiled by fierce growls and screams from above. Though its form differs from album to album, this dichotomy between pacific and tempestuous should feel very familiar to fans of Dawn of Ouroboros.
Bioluminescence is more of an amplification than a reimagining of Dawn of Ouroboros’ polarity. Nowhere is this more evident than in Chelsea Murphy’s multifaceted vocals. She possesses an uncommon ability to switch on a dime between dreamy singing and raw screams–reminding me of Eva Korman (Rolo Tomassi)–and now she pours even more sugar and spice into the mix. Her singing has become quite impassioned, sounding smooth and jazzy in “Slipping Burgundy” and adopting a breathy, almost pleading tone in “Fragile Tranquility.” On the other hand, Murphy’s harsh vocals have become a real force of nature on Bioluminescence, like the upgrading of a tropical storm to a hurricane, and when she unleashes her howling screams (“Nebulae,” “Dueling Sunsets”), they resemble the blinding brightness of burning magnesium. Though her upper limits are undoubtedly awe-inspiring, they can be distracting and, perhaps, a bit too cataclysmic for what this type of music warrants.
Despite the more volatile mood swings than before, Dawn of Ouroboros has found greater overall consistency. Granted, they are still prone as ever to bounce between styles as if flipping through TV channels or radio stations, but on Bioluminescence they drift closer to the death metal side of their persona, finding a happier medium between it and the sprawling post-black of their earlier work. This more straightforward attitude works particularly well on “Static Repetition,” with relentless riffing and drumming that pummel like crashing waves. The tradeoff is that Tony Thomas’ lead guitar melodies that were so untiringly adventurous on Velvet Incandescence are diminished in length and emotional impact. They’re still present on nearly every song, but they seem to be kept on a shorter leash. This may be because the group is down to one guitarist–rhythm guitarist Ian Baker now taking over as bassist–but, whatever the reason, it feels like one of my favorite aspects of Dawn of Ouroboros has been partially eroded.
Nonetheless, I expect that Bioluminescence will be widely regarded as a step up, the greater intensity and emphasis on Murphy’s impressive vocals winning over new fans. While I miss some of the proggy, freewheeling tendencies of Velvet Incandescence, it’s easy to recognize and admire the determination of Dawn of Ouroboros to continually stretch in search of their limits as musicians. They are talented at experimenting while avoiding the “kitchen sink” phenomenon, but those who are, like Itchy, susceptible to stylistic seasickness may still wish to seek smoother sailing elsewhere. As for me, I look forward to what Dawn of Ouroboros cooks up next. They’ve proven that the only thing we can expect from them is the unexpected.
Rating: 3.5/5.0
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Prosthetic Records
Websites: dawnofouroboros.bandcamp.com | facebook.com/dawnofouroboros
Releases Worldwide: March 7th, 2025
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