Review: “I’m Going Online Today: A Livestream Concert Recording by Oceanator
So before I start reviewing “I’m Going Online Today: A Livestream Concert Recording” by Oceanator, I should start by acknowledging that I am an old friend of the sole permanent member: Elisa Okusami. I’d hesitate to say we were close friends as it has been well over a decade since I have seen or spoken to her in-person, but we were both part of the same harDCore scene in the Va/DC/MD area, and we both filled in for one of my all time favorite bands: The AKs (her on bass and me on drums). With that being said, anyone who is a musician in the punk scene no doubt knows that years may pass but bonds will last.
Now that full disclosure is out of the way, let me state that I was both delighted and dismayed to hear that Oceanator would be releasing a live album. On one hand, I loved that it was happening and that it was being done via livestream from multiple cities (I thought doing livestreams in Orlando was hard, but Oceantor did a full livestream tour!), but on the other hand having just launched my own fledgling label to release live albums on vinyl, I was saddened that I had missed the boat to be a part of this project.
But let's move on to the project itself. For those of you that are unfamiliar with Oceanator, the music is right out of Sub Pop Records in the mid 1990s with a voice that’s low enough on the register that I had to double check the speed on my record player the first time to make sure it was accurate. Think Tracy Chapman or Nina Simone but with a hint of of Arlo Guthrie. This amazing low timbre voice is surrounded by a punk/grunge sound that would have fit on the soundtrack for the 1990’s movie Singles or Empire Records. It’s heavy and dark enough that I could have seen Oceantor opening for L7 or TAD but melodic and soul touching enough that I could see Oceantor playing with Elvis Costello or Frank Turner which is why I guess their current tour with Jeff Rosenstock makes perfect sense.
So despite being recorded at multiple shows, the set runs smoothly from one song into the next. I’m not sure if Elise was able to get enough tracks from each show that they were able to recreate the set list they play live, but it sure sounds that way. The first two songs were totally new to me since I only own the sold out “Things I Never Said”, but they were solid bangers that had me pumped. The third song, “I Would Find You”, has lyrics that would fit perfectly on any album by The Cure or that I would have put on a mixtape for a girlfriend back when I was in high school in the 1990s. The next song “Walk with You” has endearing sad lyrics about standing by someone that totally relates to how my wife and I have managed to stay married for 16 years. The music reminds me a little of a sadder version of 1950’s rock n’ roll that my dad loves so much. The music could easily fit with super happy funtime type of song lyrics, but having the slightly upbeat music juxtaposed with melancholic yet supportive lyrics is powerful. It reminds me of how I used to joyfully skank to The Dancehall Crashers happy sounding music despite most lyrics being sad or angry.
The somberness continues until one of my favorite songs, “A Crack in the World”, comes on. I love these lines:
“Remember when you were a kid?
And you thought by now you'd figure out, figure out most everything
But it's all as confusing as ever
And every day adds something new
And some of those things are bad enough
Bad enough, they almost crush you
It's not what you wanted but it'll do
It's not what you wanted but it's gonna have to do”
I could be wrong, but it feels like a universally relatable feeling whether you grew up an anarcho punk or the most straight laced follow the rules and fit-in kid. What makes it work is that they sing it with such authenticity. It’s not exactly a revolutionary idea, but it’s honest and pure, and I’ll take it and hold it close.
I loved the shoutout to and cover of Spoonboy’s, The Max Levine Ensemble and Bad Moves, “Second Hand Smoke”. Spoonboy is one of those quintessential people in any scene that makes stuff happen because they live to support and help others. I’ve seen him a few times since leaving DC: Playing Harvest of Hope Fest in St. Augustine, playing the old school I used to teach at before playing Will’s Pub in Orlando, and filling in for RVIVR when they toured with Propagandhi, and each time he gave me the kindness and love of an old friend despite our years without communication between each visit. Back to the cover, I’ve liked the song via Spoonboy since it was releases 15+ years ago, but I love this version. The more distorted guitar and the deeper vocals of Elise just give it an extra depth.
Okay so I’m relistening as I’m writing this and “Heartbeat” just came on, and it’s so amazing. I loved it in the studio version, but this version is just killer. I had to crank that shit up and really feel the song and stop writing.
The final song “Inhuman” hit so hard, both lyrically and musically. The ending hit hardest of all. Not just the lyrics….
“You have to be human
To be so inhuman
You have to be human
To be so, be so, be so, be so”
The music that followed was anguished and painful to listen to and perfectly expressed the pain felt by the words that came prior. I went back and listened to the version that was released in 2018, and it ended with those lyrics. Adding that deluge of chaotic caustic and acerbic wall of guitar took the song to a whole new level. Speaking of “Hole” I had never heard this song before, and it immediately brought to mind “Asking for It” by Hole. That was a good song. This one is painful, powerful, and perfect.
For those of you in the Orlando area I wouldn’t miss seeing them at the Beacham on 12/7. If you’re not in Orlando, make sure you catch where and when you can.
