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The Ocean – Solaris Review

Sady, it’s been a while since we’ve really heard an incredible The Ocean record. While 2023’s Holocene wasn’t…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #Entertainment #GermanMetal #GreenCarnation #PelagicRecords #Post-Metal #ProgressiveMetal #review #reviews #Sep26 #Sludge #Solaris #TangerineDream #TheOcean
https://www.newsbeep.com/us/863819/

The Ocean – Solaris Review

Sady, it’s been a while since we’ve really heard an incredible The Ocean record. While 2023’s Holocene wasn’t…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #Entertainment #GermanMetal #GreenCarnation #PelagicRecords #Post-Metal #ProgressiveMetal #review #reviews #Sep26 #Sludge #Solaris #TangerineDream #TheOcean
https://www.newsbeep.com/us/863819/

Sady, it’s been a while since we’ve really heard an incredible The Ocean record. While 2023’s Holocene wasn’t shit by any means, it was nothing like the run the band has had since 2013’s Pelagial. I’ve never been so captivated by a selection of consequential albums—only recently with the Green Carnation trilogy.1 Drifting away from the epochs, The Ocean sets off to the stars with this year’s Solaris. Not only are we heading up instead of staying below, but many of the band’s recent lineup has also moved on to their next stars and adventures. In particular, Loïc Rossetti’s voice is no longer with us, replaced by the duo Enrico Tiberi and Lane Shi. Along with spacey effects and instrumental vibes, these two bring a completely new dynamic to the band’s sound. If one were to assume Solaris marks the beginning of a new era, how will it fare compared to previous ones? Or does “51°28′30″ S, 73°6′11″ W” really represent the “Last Hope”?

Based on Stanisław Lem’s book of the same title, this new record is a mindfuck of emotion and unexplainable contradictions, much like the heartbreaking story that takes us to a research station above the surface of the water planet Solaris. Its black waters are assumed sentient, but what the crew experiences from this ocean sends them into a tailspin of fear and mental breakdown. The key work and atmosphere of Solaris work perfectly, thanks in large part to the contributions of the legendary Thorsten Quaeschning (Tangerine Dream). But where this psychological thriller takes us, one can only guess.

Smack dab in the middle of Berlin at Hansa Studios, “52°30’11” N, 13°26’12” E” begins our journey with gentle vibraphone, acoustic guitars, and our introduction to Tiberi. Then, the course is set in “Departure Song,” as our hero sets off to help the broken crew. The vibraphone and bass bleed into its introduction before distortion hits and the male/female combo soars. As it progresses through aggressive passages and impressive, forceful wailing from Shi, its cherry on top is the shared vocal structures of another classic The Ocean chorus. While this track is one of the best on the album, the follow-up, “Light Pollution,” is the weirdness that permeates through the scratching needle from here until the end. Female swoons haunt the track as the spacey effects drown out the stars and blot the sun. Harsh male vocals surface as we near the angry planet, while swirling transitions promise the uncertainty ahead. When it all crumbles, a nasty, sludgy trot rises to the surface to end it all.

As the album progresses, the intensity does as well—much like Pelagial all those years ago. As the unexplainable figures appear above and below, the frustration and confusion (for our characters and ourselves) increase until it erupts in “Belligerence.” It unleashes absolute chaos. Up to now, Tiberi’s vox were the only ones to rasp and scream, but now, Shi returns the favor. Trapped in the metallic confines that protect one from the frozen expanse, Tiberi and Shi do battle, dragging knuckles, nails, and teeth down every corridor. When the triplet attack arrives, the necks of any longtime The Ocean fan awaken. “Ultima Esperanza” pushes this concept to its breaking point, with moments of recollection, understanding, and hopelessness. As we near the emotional climax of overwhelm, loss, and pain, there’s really nothing to do but wave and fall.

While the book’s concept flows throughout with its unique The Ocean interpretation, some things plague Solaris. “Simulacra,” “Belligerence,” and “Ultima Esperanza” represent forty of the album’s seventy minutes—which is a lot. The seventeen-minute “Simulacra” is the biggest culprit, which is a shame because it showcases a lot of great, classic The Ocean vibes and its haunting importance to the concept. The two closing numbers match the story’s theme well,2 but their exclusive industrial approach stands out mightily. Many will complain about the vocals. They are so different from what fans are used to that it’s impossible to ignore. But their stellar performances cannot be dismissed. It’s just completely different than what we’re used to with the band. After numerous spins, I finally understand this album, and it gives the score a slight nudge. It’s different, but fans will find something to enjoy here.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: theocean.bandcamp.com | facebook.com/theoceancollective
Releases Worldwide: September 25th, 2026

Sady, it’s been a while since we’ve really heard an incredible The Ocean record. While 2023’s Holocene wasn’t shit by any means, it was nothing like the run the band has had since 2013’s Pelagial. I’ve never been so captivated by a selection of consequential albums—only recently with the Green Carnation trilogy.1 Drifting away from the epochs, The Ocean sets off to the stars with this year’s Solaris. Not only are we heading up instead of staying below, but many of the band’s recent lineup has also moved on to their next stars and adventures. In particular, Loïc Rossetti’s voice is no longer with us, replaced by the duo Enrico Tiberi and Lane Shi. Along with spacey effects and instrumental vibes, these two bring a completely new dynamic to the band’s sound. If one were to assume Solaris marks the beginning of a new era, how will it fare compared to previous ones? Or does “51°28′30″ S, 73°6′11″ W” really represent the “Last Hope”?

Based on Stanisław Lem’s book of the same title, this new record is a mindfuck of emotion and unexplainable contradictions, much like the heartbreaking story that takes us to a research station above the surface of the water planet Solaris. Its black waters are assumed sentient, but what the crew experiences from this ocean sends them into a tailspin of fear and mental breakdown. The key work and atmosphere of Solaris work perfectly, thanks in large part to the contributions of the legendary Thorsten Quaeschning (Tangerine Dream). But where this psychological thriller takes us, one can only guess.

Smack dab in the middle of Berlin at Hansa Studios, “52°30’11” N, 13°26’12” E” begins our journey with gentle vibraphone, acoustic guitars, and our introduction to Tiberi. Then, the course is set in “Departure Song,” as our hero sets off to help the broken crew. The vibraphone and bass bleed into its introduction before distortion hits and the male/female combo soars. As it progresses through aggressive passages and impressive, forceful wailing from Shi, its cherry on top is the shared vocal structures of another classic The Ocean chorus. While this track is one of the best on the album, the follow-up, “Light Pollution,” is the weirdness that permeates through the scratching needle from here until the end. Female swoons haunt the track as the spacey effects drown out the stars and blot the sun. Harsh male vocals surface as we near the angry planet, while swirling transitions promise the uncertainty ahead. When it all crumbles, a nasty, sludgy trot rises to the surface to end it all.

As the album progresses, the intensity does as well—much like Pelagial all those years ago. As the unexplainable figures appear above and below, the frustration and confusion (for our characters and ourselves) increase until it erupts in “Belligerence.” It unleashes absolute chaos. Up to now, Tiberi’s vox were the only ones to rasp and scream, but now, Shi returns the favor. Trapped in the metallic confines that protect one from the frozen expanse, Tiberi and Shi do battle, dragging knuckles, nails, and teeth down every corridor. When the triplet attack arrives, the necks of any longtime The Ocean fan awaken. “Ultima Esperanza” pushes this concept to its breaking point, with moments of recollection, understanding, and hopelessness. As we near the emotional climax of overwhelm, loss, and pain, there’s really nothing to do but wave and fall.

While the book’s concept flows throughout with its unique The Ocean interpretation, some things plague Solaris. “Simulacra,” “Belligerence,” and “Ultima Esperanza” represent forty of the album’s seventy minutes—which is a lot. The seventeen-minute “Simulacra” is the biggest culprit, which is a shame because it showcases a lot of great, classic The Ocean vibes and its haunting importance to the concept. The two closing numbers match the story’s theme well,2 but their exclusive industrial approach stands out mightily. Many will complain about the vocals. They are so different from what fans are used to that it’s impossible to ignore. But their stellar performances cannot be dismissed. It’s just completely different than what we’re used to with the band. After numerous spins, I finally understand this album, and it gives the score a slight nudge. It’s different, but fans will find something to enjoy here.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: theocean.bandcamp.com | facebook.com/theoceancollective
Releases Worldwide: September 25th, 2026

Sady, it’s been a while since we’ve really heard an incredible The Ocean record. While 2023’s Holocene wasn’t shit by any means, it was nothing like the run the band has had since 2013’s Pelagial. I’ve never been so captivated by a selection of consequential albums—only recently with the Green Carnation trilogy.1 Drifting away from the epochs, The Ocean sets off to the stars with this year’s Solaris. Not only are we heading up instead of staying below, but many of the band’s recent lineup has also moved on to their next stars and adventures. In particular, Loïc Rossetti’s voice is no longer with us, replaced by the duo Enrico Tiberi and Lane Shi. Along with spacey effects and instrumental vibes, these two bring a completely new dynamic to the band’s sound. If one were to assume Solaris marks the beginning of a new era, how will it fare compared to previous ones? Or does “51°28′30″ S, 73°6′11″ W” really represent the “Last Hope”?

Based on Stanisław Lem’s book of the same title, this new record is a mindfuck of emotion and unexplainable contradictions, much like the heartbreaking story that takes us to a research station above the surface of the water planet Solaris. Its black waters are assumed sentient, but what the crew experiences from this ocean sends them into a tailspin of fear and mental breakdown. The key work and atmosphere of Solaris work perfectly, thanks in large part to the contributions of the legendary Thorsten Quaeschning (Tangerine Dream). But where this psychological thriller takes us, one can only guess.

Smack dab in the middle of Berlin at Hansa Studios, “52°30’11” N, 13°26’12” E” begins our journey with gentle vibraphone, acoustic guitars, and our introduction to Tiberi. Then, the course is set in “Departure Song,” as our hero sets off to help the broken crew. The vibraphone and bass bleed into its introduction before distortion hits and the male/female combo soars. As it progresses through aggressive passages and impressive, forceful wailing from Shi, its cherry on top is the shared vocal structures of another classic The Ocean chorus. While this track is one of the best on the album, the follow-up, “Light Pollution,” is the weirdness that permeates through the scratching needle from here until the end. Female swoons haunt the track as the spacey effects drown out the stars and blot the sun. Harsh male vocals surface as we near the angry planet, while swirling transitions promise the uncertainty ahead. When it all crumbles, a nasty, sludgy trot rises to the surface to end it all.

As the album progresses, the intensity does as well—much like Pelagial all those years ago. As the unexplainable figures appear above and below, the frustration and confusion (for our characters and ourselves) increase until it erupts in “Belligerence.” It unleashes absolute chaos. Up to now, Tiberi’s vox were the only ones to rasp and scream, but now, Shi returns the favor. Trapped in the metallic confines that protect one from the frozen expanse, Tiberi and Shi do battle, dragging knuckles, nails, and teeth down every corridor. When the triplet attack arrives, the necks of any longtime The Ocean fan awaken. “Ultima Esperanza” pushes this concept to its breaking point, with moments of recollection, understanding, and hopelessness. As we near the emotional climax of overwhelm, loss, and pain, there’s really nothing to do but wave and fall.

While the book’s concept flows throughout with its unique The Ocean interpretation, some things plague Solaris. “Simulacra,” “Belligerence,” and “Ultima Esperanza” represent forty of the album’s seventy minutes—which is a lot. The seventeen-minute “Simulacra” is the biggest culprit, which is a shame because it showcases a lot of great, classic The Ocean vibes and its haunting importance to the concept. The two closing numbers match the story’s theme well,2 but their exclusive industrial approach stands out mightily. Many will complain about the vocals. They are so different from what fans are used to that it’s impossible to ignore. But their stellar performances cannot be dismissed. It’s just completely different than what we’re used to with the band. After numerous spins, I finally understand this album, and it gives the score a slight nudge. It’s different, but fans will find something to enjoy here.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: theocean.bandcamp.com | facebook.com/theoceancollective
Releases Worldwide: September 25th, 2026

Sady, it’s been a while since we’ve really heard an incredible The Ocean record. While 2023’s Holocene wasn’t shit by any means, it was nothing like the run the band has had since 2013’s Pelagial. I’ve never been so captivated by a selection of consequential albums—only recently with the Green Carnation trilogy.1 Drifting away from the epochs, The Ocean sets off to the stars with this year’s Solaris. Not only are we heading up instead of staying below, but many of the band’s recent lineup has also moved on to their next stars and adventures. In particular, Loïc Rossetti’s voice is no longer with us, replaced by the duo Enrico Tiberi and Lane Shi. Along with spacey effects and instrumental vibes, these two bring a completely new dynamic to the band’s sound. If one were to assume Solaris marks the beginning of a new era, how will it fare compared to previous ones? Or does “51°28′30″ S, 73°6′11″ W” really represent the “Last Hope”?

Based on Stanisław Lem’s book of the same title, this new record is a mindfuck of emotion and unexplainable contradictions, much like the heartbreaking story that takes us to a research station above the surface of the water planet Solaris. Its black waters are assumed sentient, but what the crew experiences from this ocean sends them into a tailspin of fear and mental breakdown. The key work and atmosphere of Solaris work perfectly, thanks in large part to the contributions of the legendary Thorsten Quaeschning (Tangerine Dream). But where this psychological thriller takes us, one can only guess.

Smack dab in the middle of Berlin at Hansa Studios, “52°30’11” N, 13°26’12” E” begins our journey with gentle vibraphone, acoustic guitars, and our introduction to Tiberi. Then, the course is set in “Departure Song,” as our hero sets off to help the broken crew. The vibraphone and bass bleed into its introduction before distortion hits and the male/female combo soars. As it progresses through aggressive passages and impressive, forceful wailing from Shi, its cherry on top is the shared vocal structures of another classic The Ocean chorus. While this track is one of the best on the album, the follow-up, “Light Pollution,” is the weirdness that permeates through the scratching needle from here until the end. Female swoons haunt the track as the spacey effects drown out the stars and blot the sun. Harsh male vocals surface as we near the angry planet, while swirling transitions promise the uncertainty ahead. When it all crumbles, a nasty, sludgy trot rises to the surface to end it all.

As the album progresses, the intensity does as well—much like Pelagial all those years ago. As the unexplainable figures appear above and below, the frustration and confusion (for our characters and ourselves) increase until it erupts in “Belligerence.” It unleashes absolute chaos. Up to now, Tiberi’s vox were the only ones to rasp and scream, but now, Shi returns the favor. Trapped in the metallic confines that protect one from the frozen expanse, Tiberi and Shi do battle, dragging knuckles, nails, and teeth down every corridor. When the triplet attack arrives, the necks of any longtime The Ocean fan awaken. “Ultima Esperanza” pushes this concept to its breaking point, with moments of recollection, understanding, and hopelessness. As we near the emotional climax of overwhelm, loss, and pain, there’s really nothing to do but wave and fall.

While the book’s concept flows throughout with its unique The Ocean interpretation, some things plague Solaris. “Simulacra,” “Belligerence,” and “Ultima Esperanza” represent forty of the album’s seventy minutes—which is a lot. The seventeen-minute “Simulacra” is the biggest culprit, which is a shame because it showcases a lot of great, classic The Ocean vibes and its haunting importance to the concept. The two closing numbers match the story’s theme well,2 but their exclusive industrial approach stands out mightily. Many will complain about the vocals. They are so different from what fans are used to that it’s impossible to ignore. But their stellar performances cannot be dismissed. It’s just completely different than what we’re used to with the band. After numerous spins, I finally understand this album, and it gives the score a slight nudge. It’s different, but fans will find something to enjoy here.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: theocean.bandcamp.com | facebook.com/theoceancollective
Releases Worldwide: September 25th, 2026

Sady, it’s been a while since we’ve really heard an incredible The Ocean record. While 2023’s Holocene wasn’t shit by any means, it was nothing like the run the band has had since 2013’s Pelagial. I’ve never been so captivated by a selection of consequential albums—only recently with the Green Carnation trilogy.1 Drifting away from the epochs, The Ocean sets off to the stars with this year’s Solaris. Not only are we heading up instead of staying below, but many of the band’s recent lineup has also moved on to their next stars and adventures. In particular, Loïc Rossetti’s voice is no longer with us, replaced by the duo Enrico Tiberi and Lane Shi. Along with spacey effects and instrumental vibes, these two bring a completely new dynamic to the band’s sound. If one were to assume Solaris marks the beginning of a new era, how will it fare compared to previous ones? Or does “51°28′30″ S, 73°6′11″ W” really represent the “Last Hope”?

Based on Stanisław Lem’s book of the same title, this new record is a mindfuck of emotion and unexplainable contradictions, much like the heartbreaking story that takes us to a research station above the surface of the water planet Solaris. Its black waters are assumed sentient, but what the crew experiences from this ocean sends them into a tailspin of fear and mental breakdown. The key work and atmosphere of Solaris work perfectly, thanks in large part to the contributions of the legendary Thorsten Quaeschning (Tangerine Dream). But where this psychological thriller takes us, one can only guess.

Smack dab in the middle of Berlin at Hansa Studios, “52°30’11” N, 13°26’12” E” begins our journey with gentle vibraphone, acoustic guitars, and our introduction to Tiberi. Then, the course is set in “Departure Song,” as our hero sets off to help the broken crew. The vibraphone and bass bleed into its introduction before distortion hits and the male/female combo soars. As it progresses through aggressive passages and impressive, forceful wailing from Shi, its cherry on top is the shared vocal structures of another classic The Ocean chorus. While this track is one of the best on the album, the follow-up, “Light Pollution,” is the weirdness that permeates through the scratching needle from here until the end. Female swoons haunt the track as the spacey effects drown out the stars and blot the sun. Harsh male vocals surface as we near the angry planet, while swirling transitions promise the uncertainty ahead. When it all crumbles, a nasty, sludgy trot rises to the surface to end it all.

As the album progresses, the intensity does as well—much like Pelagial all those years ago. As the unexplainable figures appear above and below, the frustration and confusion (for our characters and ourselves) increase until it erupts in “Belligerence.” It unleashes absolute chaos. Up to now, Tiberi’s vox were the only ones to rasp and scream, but now, Shi returns the favor. Trapped in the metallic confines that protect one from the frozen expanse, Tiberi and Shi do battle, dragging knuckles, nails, and teeth down every corridor. When the triplet attack arrives, the necks of any longtime The Ocean fan awaken. “Ultima Esperanza” pushes this concept to its breaking point, with moments of recollection, understanding, and hopelessness. As we near the emotional climax of overwhelm, loss, and pain, there’s really nothing to do but wave and fall.

While the book’s concept flows throughout with its unique The Ocean interpretation, some things plague Solaris. “Simulacra,” “Belligerence,” and “Ultima Esperanza” represent forty of the album’s seventy minutes—which is a lot. The seventeen-minute “Simulacra” is the biggest culprit, which is a shame because it showcases a lot of great, classic The Ocean vibes and its haunting importance to the concept. The two closing numbers match the story’s theme well,2 but their exclusive industrial approach stands out mightily. Many will complain about the vocals. They are so different from what fans are used to that it’s impossible to ignore. But their stellar performances cannot be dismissed. It’s just completely different than what we’re used to with the band. After numerous spins, I finally understand this album, and it gives the score a slight nudge. It’s different, but fans will find something to enjoy here.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: theocean.bandcamp.com | facebook.com/theoceancollective
Releases Worldwide: September 25th, 2026