The proggy German paleontologists, THE OCEAN, have reached the final epoch of Earth’s existence with the latest installment, “Holocene,” in their haunting series of concept albums zooming into our planet’s intriguing history. The album was released on May 19th, 2023, via Pelagic Records and, while it comes off a tad more synthetically trimmed than its predecessors “Phanerozoic I: Palaeozoic” (2018) and “Phanerozoic II: Mesozoic” (2020), the band remains loyal enough to their signature craft of stellar post-metal so that the endeavor instantly feels like an exciting, new chapter in the band’s sonic journey. “Phanerozoic II” ended with a track titled “Holocene” and now, it is becoming clear that this track was emblematic, both musically and conceptually. In a way, THE OCEAN seems to have opted for an approach somewhat similar to CULT OF LUNA‘s 2013 album “Vertikal,” on which those sludgey Swedes went full-on Vangelis. There is something irresistible in the mixture of gritty post-metal riffing and ambient, electronic soundscapes. On their tenth studio album, THE OCEAN proves beyond a shadow of a doubt that Brian Eno and SLAYER go together like a horse and carriage.
Opening the album, “Preboreal” was released as the leading single already in January and the new direction was hinted at straight off the bat; the song is driven by a delicious synth ostinato, which is somewhat reminiscent of the awesome video game soundtrack work of Mick Gordon from AAA-titles such as Wolfenstein, Doom, and Prey. The synth motif gradually becomes layered with guitars and cinematic horns. The song is structured rather diligently according to the standard guidelines for a post-metal crescendo – ”from a whisper to a scream over the course of 5 minutes.” If there is one formulaic approach to music that works wonders, it is this. The song is quite a stunner – and as an opener, even more so.
Rumor has it that every song on the album is based on a musical idea originally written by the band’s synth maestro, Peter Voigtmann. Judging by the content of guitarist Robin Staps‘s Spotify playlist “Isolation Meditation” that he put online during the pandemic, I guess finding common ground in the band’s songwriting sessions wasn’t really that hard. I mean, the delicious TRENTEMØLLER vibes on “Boreal” might just as well have originated from the band’s primus motor, Staps. The band has seen many different line-ups over the years, but has been relatively stable since 2018, which obviously has had a positive effect on their craft; you can detect an upward curve in the band’s creative impetus, culminating in this new effort. Perhaps having Swedish producer Karl Daniel Lidén on board has also played into this new aesthetic significantly. The band’s longtime collaborator Jens Bogren has a trademark sound that leans maybe a bit more toward all things metal.
Okay, I just made it sound like the album is some sort of a homage to synthwave or something – fear not, it isn’t. There is still lots of explosive, sludge-tinted post-metal to go around, most prominently on tracks such as “Subboreal” and “Subatlantic” – the latter’s oriental musings add a particularly nice touch to the angry and abrasive riffs closing the album. In the band’s own words, the album is “about angst, alienation, loss of reason and critical thinking.” I reckon it would be extremely hard to drive such points home without throwing in a good few gut punches of sludgey, post-hardcore-tinted moments.
That said, the most haunting track on the album adds yet another ingredient into the mix that we haven’t seen or heard before with this bunch. “Unconformities” features Karin Park of the Norwegian noise-rock act, ÅRABROT, on vocals. Once again, I cannot avoid thinking the band’s creative trajectory follows along a somewhat similar path to CULT OF LUNA here. This Swedish bunch collaborated with American noise-rock vocalist Julie Christmas on their 2016 effort “Mariner,” and proved that female vocals fit sludge-y post-metal to a tee. THE OCEAN further verifies this to be the case. The song is a definite highlight on the album, if not in the band’s whole back catalog. Park‘s vocals almost resonate with the yearnful air of Beth Gibbons of PORTISHEAD, and juxtaposed against the intricate web of riffs that grow in intensity over the course of the song’s 9 minutes, the impact is very close to having your brains blown out of your head. At its most intense, the song is even reminiscent of the post-rock mayhem of MAGYAR POSSE‘s 2006 brain-twister “Whirlpool of Terror and Tension.” Oh, yes – shut up and take my money.
I’m still kind of blown away by THE OCEAN‘s 2020 album “Phanerozoic II: Mesozoic”, so I feel a bit reluctant to dub this effort their best to date after a few spins. However, I have this feeling I’m going to have to do it sooner or later. In 2020, the fossil Ophiacantha oceani was named in honor of the band and, not only was it a recognition that no band has ever achieved before, but it spoke volumes of the band’s musical stature. “Holocene” will undoubtedly be an album that I’m going to spend a lot of time with, unraveling more and more of its myriad layers with each new spin. While introducing new, softer facets of the band, what with all the electronic elements, the outing is every bit as immersive and haunting as their previous endeavors – an essential installment in their back catalog, that is.
Written by Jani Lehtinen
Tracklist
- Preboreal
- Boreal
- Sea of Reeds
- Atlantic
- Subboreal
- Unconformities
- Parabiosis
- Subatlantic
Lineup
Peter Voigtmann – synths
Loic Rossetti – lead vocals
Robin Staps – guitars, programming, backing vocals
Paul Seidel – drums, backing vocals
Mattias Hägerstrand – bass
David Ramis Åhfeldt – guitars
Label
Pelagic Records
