Recently the German progressive metal ensemble, THE OCEAN, sometimes referred to as, THE OCEAN COLLECTIVE, released their tenth full-length album, "Holocene," on Metal Blade Records. This album completes the band's deep dive into archaeological history at its natural endpoint, our current epoch. THE OCEAN has always been about duality. Nearly every one of their releases has a companion. This album is no different. Each of this album's eight tracks has an inseparable twin and consists of several interlocking loops. This is in large part due to keyboardist Peter Voightmann's songwriting influence. He is the primary songwriter this time. "Holocene" also sounds the least like THE OCEAN's earlier works.

The album begins with "Preboreal" and "Boreal," respectively. The first track begins and ends with the same looping peaceful keyboard melody. Loïc Rossetti's clean vocals come through warm and clear. There's also a pleasant horn part to be heard.  The guitar riffs only get distorted near the very end of the track. "Boreal" also begins with a proggy keyboard loop. This time around the song ramps up the urgency and complexity while still building upon the framework of "Preboreal." This is exactly what I look for in an album from THE OCEAN. However, as many listeners have stated, I found myself waiting for the heavy part just a little bit. Every track on "Holocene" is well-layered and wel-developed. On "Atlantic," we are continuing with the looping theme and song structure. This one is a nice slow burn that pays off with a heavy riff that would be right at home on the latest MASTODON release. That slow burn is calculated and precise. The added heaviness is a welcome bonus, but this still isn't THE OCEAN at their most extreme.

"Subboreal," the following track, begins with rhythmic bass hits serving as percussion. A clap track is later added to up the percussive quotient while the ever-swelling vocals rise to a fever pitch. When Rossetti belts out that "things will never be the same," the payoff is ecstatic. This is the part that I had been waiting for; the part when the entire album kicks it into high gear. They then follow up with a pulverizing breakdown. While my glee was waning and "Atlantic" was nearing its close, I realized that this sea change had occurred nearly four minutes into the fourth track on the album. That is an awful long wait for most people. Upon further listening, I concluded that the first three tracks are equally as rewarding in their arrangements and intricacies. For some who long for the sound on the "Phanerozoic" albums, this may be a bridge too far. "Unconformities" shows that they can keep up their established momentum with Karin Park's haunting guest vocals. The song develops an anxious, frenetic pace by the time Rossetti joins her, slowly and quietly at first, then explodes into an enthralling shouted refrain of "don't turn on the bright lights." Moments like this prove that THE OCEAN haven't lost their touch.

The final track on "Holocene," "Subatlantic," begins with a muffled beat that sounds like it is underwater. Then we are treated to the soothing, ethereal vocals from Gala Noam Maoz, seemingly rising from the depths. A piano plays slowly before the song kicks in. Rossetti displays his excellent vocal capabilities once more. They once again build up to a violent extreme metal passage that culminates in a drawn-out scream that brings me right back on board, just as fervent as before. Shortly before this track ends Paul Seidel's drumming takes on a tribal quality that is perfectly placed. Then, as the screaming fades out and the horn begins to play, we are treated to one final keyboard loop to tie everything together. Needless to say, I thoroughly enjoy this album. I applaud the band's experimentation and feel like it works more often than it doesn't. I don't feel like this is THE OCEAN at their absolute best. The "Phanerozoic" albums are tough acts to follow, but I am glad to see that they are still taking risks and that their sound is continually evolving.