The Ocean
Anthropocentric

Living within a dynamic and complex landscape like that of the metal music market always risks falling into various complications, problems with record labels, so that failure waits just around the corner. Many, too many bands have already faced such situations, but this does not seem to be a problem for the German band The Ocean, who have reached their fifth album with "Anthropocentric." In the time that has passed since their debut "Fluxion" in 2004 and this "Anthropocentric" in 2010, the band has evolved from a collective project into a real musical entity. A stable member is Robin Staps, one of the promoters of the project and now an undisputed leader. He confirmed Loic Rossetti as the vocalist, who was already the singer in the "brother" of this album, namely "Heliocentric." Indeed, the album in question is part of a global reflection on the birth, development, and consequences of Christianity, with all the philosophies and implications derived from it, which the band had partially addressed in the previous "Heliocentric."

The German band thus combines art and culture, addressing complex themes that, at a superficial glance, might not seem to perfectly align with the music. But The Ocean seems to really know what they want, and the result is of absolute quality and confirms the excellence the band proposed just a few months prior with "Heliocentric." Following the path of that work comes "Anthropocentric": the style that distinguishes it is an original mix of modern-sounding sludge riffs, rhythmic incursions reminiscent of Tool's "Undertow," and fleeting post-rock flavored appearances that contribute to designing a convincing and varied sonic architecture.

The first chapter of this philosophical/musical diptych on Christianity had dwelled particularly on the contradictions inherent in the Church, Christianity, and even the scientific theories related to it (see "geocentrism"). With "Anthropocentric," the group continues its exploration of religion and once again focuses on the attempt to unmask the beliefs on which Christianity has stood for thousands of years. To do this, besides having great knowledge of the topics covered, figures of the caliber of Friedrich Nietzsche, David Hume, and Fyodor Dostoevsky are called into question (although many others could be cited). Particularly the Russian author has a significant importance in the development of the concept: his work "The Brothers Karamazov" is continuously dissected, especially regarding the famous dialogue between the two brothers, Ivan and Alyosha. One an atheist, the other a monk deeply rooted in his principles. Much of the album plays out on these two tracks, as do two of the main stylistic features: the few moments of sonic delicacy are no longer entrusted, as they were in "Heliocentric," to the piano or strings, but rather to the dusty sound of acoustic guitars and the same electric guitar used for more "gentle" purposes.

Having said that, don't expect sweet and seductive ballads about the universe's destiny and humanity, although in truth, the final (and splendidly refined) "The Almightiness Contradiction" is exactly that. Indeed, there will be few moments of relaxation, even though these, like "For He That Wavereth...", are true gems of melody. Compared to the previous work, the sound has become heavier, and the result is a more powerful and aggressive album, at times rough, certainly less introspective than "Heliocentric": the metallic blows of "Sewers of the Soul" and "Heaven TV" are clear examples. The band indulges in "cultural sludge," creating complex and evocative compositions like the title track, just as the first and third chapters of the triptych titled "The Grand Inquisitor" are of absolute quality: "Karamazov Baseness" alternates thrash-flavored outbursts with more reflective moments, highlighted by Loic Rossetti's clean vocals, while "A Tiny Grain of Faith" is a fleeting song with a hallucinated 19th-century flavor, with a lightning-fast violin insertion.

"Anthropocentric" was an arduous challenge for The Ocean, once again called upon to prove themselves. Their genre and their way of presenting music do not make them straightforward or easily accessible, but their class and originality are evident from the first listen. Add to this a vast culture and an excellent ability to combine it with the music, and the result is of absolute quality. A conceptually elevated album worthy of being listened to. The German band confirms itself as one of the best on the world stage and certainly one of those most poised to restore splendor and vitality to metal in general, increasingly in decline in recent years.

1. "Anthropocentric" (9:24)
2. "The Grand Inquisitor I: Karamazov Baseness" (5:02)
3. "She Was The Universe" (5:39)
4. "For He That Wavereth..." (2:08)
5. "The Grand Inquisitor II: Roots & Locusts" (6:33)
6. "The Grand Inquisitor III: A Tiny Grain Of Faith" (1:56)
7. "Sewers Of The Soul" (3:44)
8. "Wille Zum Untergang" (6:03)
9. "Heaven TV" (5:05)
10. "The Almightiness Contradiction" (4:34)