Conor Fynes 'Anthropocentric' - The Ocean (9/10)

With 2007's 'Precambrian', German post-metal group The Ocean (also known as Ocean Collective) came out with a two disc concept epic concerning nothing less than the turbulent creation of the planet Earth. To follow up something so vast, 2010 witnessed the band now releasing two companion albums, each dealing with such topics as the creation of man, the idea of god, and religion. Suffice to say, The Ocean are never short of ambition in the projects they choose to take. While the critique of religion and faith is as ripe a concept as any for a metal album, 'Heliocentric' did end up being a bit of a disappointment. Luckily, the second installment in this chapter of The Ocean turned out to be quite a return to power for the band. With 'Anthropocentric', The Ocean releases one of their most potent efforts yet, with a concept and lyrical content as profound and fiery as the music it is driven by.

When speaking of the sound of this album, there is definitely a more conventional melodic sense here (like 'Heliocentric') than there used to be, in no small part due to the addition of new vocalist Loïc Rossetti, whose clean singing is featured quite prominently here. However, unlike 'Heliocentric', very little of the heaviness and experimentation is relinquished, and there is a very good balance between the heavier vocals and lighter melodic singing. With many of the songs, the clean vocals make some pretty catchy and memorable hooks, but luckily don't feel superficial by doing so.

The title track leads off the album in full force; a nine minute episode of sludgy heaviness, mixed with rhythmic experimentation. While the track begins in a very typical, atonal style for The Ocean, the differences and developments start to be heard when the clean vocals come in, three and a half minutes into the album. In direct contrast to the brute growls, the vocals are often beautifully harmonized, although some of the more stylized singing of Loïc Rossetti can get a tad nasal at times. At least as far as the first track is concerned, the highlights reside in the beautiful mellower moments, where The Ocean gets to properly show their new grasp for great melodies.

Another highlight of the album is the single-worthy 'She Was The Universe', which is a memorable powerhouse from start to finish, despite being highly rhythmically irregular. Along with many of the songs here, the chorus is kept quite melodic. Other noteworthy songs include 'The Grand Inquisitor III', which is the most 'out there' track on 'Anthropocentric'- an electronic trip-hop acid tweak of an interlude- and 'Willie Zum Untergang', a very post-rockish track that showcases the band's more ethereal nature. The only song here that isn't excellent is 'Sewers Of The Soul', which keeps a relatively up- tempo, rock vibe without showing the same compositional complexity and intricacy of the rest of the album.

Lyrically, the material here is bound to cause some controversy, especially among the more religiously-inclined listeners. As was true with 'Heliocentric', 'Anthropocentric' is a harsh, to- the-point critique of Christian fundamentalism and hypocrisy. Philosophical opinions aside, the subject matter is intregated well into a sort of intellectual and thought-provoking poetry that's sure to stir up some debate amongst metalheads.

'Anthropocentric' may very well be a rival of 'Precambrian' for The Ocean's greatest work to date. Despite having one or two songs that feel a bit less inspired than the rest, 'Anthropocentric' is a true definition of the 'thinking man's metal'; highly complex and frenetic sludge metal, mixed with a truly ambitious scope. An imperfect album, but The Ocean's mastery of aesthetic and innovation is readily evident in spades.

Conor Fynes 'Heliocentric' - The Ocean (6/10)

As the first in a two part companionship album revolving heavily around religious critique and a humanistic (and quite often negative) study of the Christian faith, 'Heliocentric' represents the beginning of a new era for Germany-based post metal act The Ocean. While I had listened to 'Anthropocentric' (the second half) before this one, I was already a fan of this band's complex and intelligent music from the 'Precambrian' days onwards, and my expectations were high for the next album. This band has always been prone to take on the most ambitious topics ('Precambrian' revolved around the creation of the Earth itself) and 'Heliocentric' is no exception to this rule. A deeply thought-provoking concept by all standards, 'Heliocentric' does ultimately disappoint my high expectations however. While the album is graced with some brilliant moments and lyrics that will surely upstart more than a few existential debates, the band's new direction does feel basic and less effectively executed than some of the great albums they have released in the past.

With a new vocalist here, the sound of the band is obviously changed a fair bit. While the abrasive growls are the same as they have always been (that is, a mixed bag), the introduction of Loic Rossetti is one of the more skilled singers the band has seen through its revolving door of musicians. However, while 'Anthropocentric' shows the singer's talent in an excellent light, 'Heliocentric' feels as if it stretches the vocalist's style in the wrong direction, usually towards a more abrasive direction that could vaguely be compared with the harsh style of Metallica vocalist James Hetfield. Ironically, many aspects of The Ocean's music have actually become much more melodic and harmonious since the atonal and unsettling sounds of 2007's 'Precambrian'. Even going as far as to have a piano-driven ballad like 'Ptolemy Was Wrong', 'Heliocentric' does see the band going in a slightly less complex direction with their music, and that did often feel to me like The Ocean's greatest strength; their meticulously crafted arrangements. Songs like 'Metaphysics Of The Hangman' are driven by chorus structures, and while this doesn't necessarily mean that the music will be worse, in The Ocean's case, it does. Mixed results on Rossetti's new vocals,some inconsistent writing, and a more accessible direction? Doesn't sound good, but the album is far from being poor, and still sports a good deal of strengths.

First among the positive aspects of 'Heliocentric' is the lyrical content and concept. On an even calibre with 'Anthropocentric' here, the lyrics generally revolve around the Church's resentment towards science, as well as to debunk Creationism (a theme further developed with the second part) and question the existence of a divine entity. While this will offend some Christian listeners surely, the lyrics are written quite tastefully, touching upon the subjects through a poetic, often metaphorical language that really becomes the highlight of the album.

The Ocean's 'Heliocentric' is certainly one of the weaker points of The Ocean's career, especially considering when the band has had such success with releasing absolutely phenomenal records. in the past. However, tracks like 'Firmament' and 'The Origin Of Species' and a few others provide a great listening experience typical of the band's output. While the album did not reach my expectations however, it would pave the way for 'Anthropocentric', which is the real masterpiece to be spawned from this project.

Pelata For over half a decade now, Germany’s The Ocean has been churching out some of the most forward thinking, textured, aurally massive sounds in metal. Following the path of the truly progressive, each of The Ocean‘s successive releases finds the band adding more layers, more tangible space and more shifting dynamics. Having had nearly 40 different band members come in and out of the band (which was originally called The Ocean Collective) may have something to do with that. These members help founding guitarist/songwriter Robin Staps’ musical vision take ever-shifting shapes.

Heliocentric, the follow up to 2007′s Precambrian, finds the band with a new vocalist, Loic Rossetti, and a fresh dose of inspiration adding large doses of melody (including very well sung, yes, SUNG, vocals). The songs find themselves somewhere between the crushing weight of Neurosis and the atmospheric strains of Ulver. The band shifts from rich death growls over two-ton guitars to piano & strings with clean, capable singing. Regardless of the dynamic, the mood throughout the album is one of serious thought, intense conviction and passionate belief. The album is actually the first half of a 2-album concept which takes a philosophical position in critiquing Christianity, tracing it from its origins as a movement 2 millennia ago to more current schools of thought along the lines of Darwin and Dawkins. It’s not a hateful, “let’s bash all the stupid Christians” free-for-all… it’s a much more subdued, honest critique which, honestly, is quite refreshing. Songs like “The Origin Of The Species” (one of the albums longer, more prog-like cuts), “Metaphysics Of The Hangman”, “Ptolemy Was Wrong” (with it’s Wagner-esque brooding heaviness of mood) and “Swallowed By The Earth” showcase the band’s undeniable strength, musical dexterity and ability to create massive tonal waves that will wash over the listener.

Fans of any of the band’s previous efforts, the aforementioned Ulver & Neurosis, as well as Isis, mid-era The Gathering, even Opeth will find something of great value here, methinks.

Stooge Anthropocentric was the second album released by The Ocean in 2010 (the first being Heliocentric). Having only listened to Heliocentric and Fluxion previously, my first instinct was that this album was pretty much par for the course for the band. But then I learned something: Never judge an album on a single listen, especially when the first listen is through cheap computer speakers.

With the second listen, I went with my favorite setup. Lying in bed, eyes closed, listening to my MP3 player. No distractions. Just me and the music. This allowed me to pick up on many of the nuances I missed on the first listen. It didn’t even sound like the same album!!

Anyways, why do I like it?

The Ocean is one of those groups (like Opeth, for an obvious example) that have the potential to draw fans to a more extreme form of music through their progressiveness and skill blended with accessibility. There are several moments on Anthropocentric where the band throws in aggressive, hardcore passages, and pairs them with melancholic but memorable sections that manage to stick in your head. While several bands make practice of this, The Ocean do it in such a way that it does not sound forced at all. You take a song like “She Was The Universe”, with a verse built around a simple but rather heavy groove. As the song builds toward the calming chorus, the sections are weaved together skillfully with the introduction of slick, melodic guitar work to form a seamless transition.

Several other tracks on the album are able to give such variety within a single track, pairing the beautiful with the brutal. There are others that isolate these moments and are more straightforward, going from one extreme (“For He That Wavereth...,” “A Tiny Grain Of Faith”) to the next (“Sewers of the Soul”). The album flows so well from beginning to end that I find myself appreciating it more as a total package than in pieces.

Anthropocentric was the first album by The Ocean that was a collaborative writing effort between all band members. This is definitely a practice they should continue in the future. This album comes highly recommended!!

J-Man The Almightiness Contradiction

Anthropocentric is the perfect definition of a hit-and-miss album for me. There are some huge "hits" that border on masterpiece status, yet there is a decent portion of music here that just fails to capture me in any way. Not because it's bad - if you're a fan of The Ocean, you should love this entire album. The issue here is mainly just a feeling of inconsistency - the mellow post rock and progressive metal sections are very inspired and enjoyable, whereas the post-hardcore sections leave me cold. Although many will disagree with me, I wholeheartedly believe that The Ocean is much better when playing softer music. The Opeth-influenced heavy/light contrasts are something that these guys just can't quite pull off without a slightly awkward atmosphere. It's really a shame, considering all of the fantastic moments on Anthropocentric. If you're a fan of The Ocean or experimental sludge/post metal in general, this is still more than worth an acquisition.

The sound here is experimental/progressive sludge-oriented post metal/hardcore (which is quite a mouthful, to say the least). There are plenty of influences from the post metal scene, as well as bands like Mastodon and even Opeth (mainly in the song structures). The mellow post rock/metal sections are the ones I find myself enjoying the most here - a song like "The Almightiness Contradiction" and "Willie Zum Undertang" is a perfect example of how amazing The Ocean can be. Unfortunately, heavier songs like "Sewers of the Soul" drag down my experience significantly. I enjoy heavy music, but The Ocean sounds a bit uninspired when playing hardcore sections. With that said, almost every song has a few redeemable qualities. Even "Sewers of the Soul" (my least favorite song here) has a solid guitar solo that brings the rest of the song up from pure mediocrity. Another big asset to Anthropocentric is the fantastic musicianship - The Ocean is an extremely tight playing unit, boasting some of the best musicianship in the genre. The two guitarists (Robin Staps and Jonathan Nido) are especially notable, mainly due their terrific guitar harmonies. In a song like "Willie Zum Undertang" it's clear how beautifully these guys can play. The vocals are a bit of a mixed bag for me, but they are always professional and well-done.

The production is great. Anthropocentric sounds absolutely wonderful. Everything sounds clean and crisp - I especially have to applaud the terrific sound of the drums.

Conclusion:

Although I can't say that Anthropocentric is an album that really amazed me, calling it anything less than high-quality would be a lie. I find myself enjoying the softer parts the most, but that's not to say that the heavier sections are poorly made. Fans of The Ocean will adore this album, and I also enjoy it to some extent. For an album that is high-quality, will satisfy the band's fanbase, and attract new fans, 3.5 stars are well deserved. Though far from essential, this still comes as a recommended purchase for post metal fans.