A well-known nickname for Finland is the land of a thousand lakes. In reality, however, there are almost one hundred and ninety thousand of them. What many people may not know is that Finland also has oceans. However, this does not concern the aquatic variant, but the blackened musical power in the name of …And Oceans. The band has been around for thirty years now, and after a long break, it is now ready for a second life. We would like to give a short summary of the history of the band, which can be roughly divided into four episodes. Part one concerns the formative years of the band, in which symphonic black metal is played. Part two is characterized by a rigorous change in musical style full of influences from electronic industrial. The eighteen years of radio silence that follows (we will not include the name change to Havoc Unit), can be considered part three. Chapter four starts in 2020 when …And Oceans returns under its own name with the fantastic Cosmic World Mother. A return to old times with furious symphonic black metal, which is followed up well three years later with As In Gardens, So In Tombs. Fast forward two years and we find ourselves with The Regeneration Itenary, the seventh album. Can we now expect a shift in musical focus after two albums or will they stick with the symphonic black this time?
Inertiae kicks off the album with a short, spacy introduction, but then coolly transitions into a slashing passage with machine-gun drums and suppressed tremolos. After a minute and a half, the music falls silent and the hypnotic psytrance takes over. The surprise is complete when the pounding techno makes its entrance and transports you to a slightly too dark nightclub in Berlin. The guitars swell again and encourage the drums to seek out the speeds of the beginning again. Genius or insane? After a few spins, I have to admit it leans more towards the first. At several points in the album, the electronics will make their entrance again, but nowhere as prominently as on this first track. Fans with a slight disapproval of the second musical chapter in the band’s history can therefore breathe a sigh of relief, but the influence is more clearly present than on the previous two albums and pushes further into new dimensions. Those influences disappear completely, however, when Förnyelse i Tre Akter expertly crushes any chance of doubt. Ice-cold tremolos and a pounding rhythm section whip things up, fueled by the vocal violence of Mathias Lillmåns. The chorus is grand and compelling, with the addition of the bell chiming adding to the transport. Then a striking guitar melody is introduced in the second part, only to expertly grunt it into doom. Exceptionally delicious! The song holds on to the epic well towards the end, providing an early climax.
After that heavy stuff it’s time for a bit more compositional air with Chromium Lungs, Bronze Optics. The band plays with tempo changes and dark emotional dynamics. Towards the end of the song, epic grandeur is sought again, something in which …And Oceans is the undisputed grandmaster, and so the thoughts once again wander into melancholy. The Form And The Formless has an almost folky slant with an edge of power metal, which briefly reminds you of the trolls of Finntroll. However, that image disappears completely when the cheerful electro transports you to a flashing Japanese arcade. An unnecessary intermezzo, but fortunately the tempo quickly increases and semi-clear vocals and galloping rhythms once again feed the association of power. Nevertheless, a somewhat disappointing song. Mourning emotion then is the positive guideline in the subsequent Prophetical Mercury Implement. This is …And Oceans at its best. Heavy synths, icy guitars and haunting melodies are the dominant tone. The leading melody returns towards the end and is accompanied by the icy scream of Lillmåns. The spacy tones towards the finale make that this might have been a perfect closer to the album.
We continue our journey with I Am Coin, I Am Two. The logical name of Dimmu Borgir has not yet been mentioned. Of course, we cannot leave it out in relation to …And Oceans, and this song is perhaps the most fitting. The rasping vocals, striking guitar lines and synth layers are strongly reminiscent of Enthrone Darkness Triumphant from the Norwegian band. Towards the Absence Of Light seeks the balance between lovely folkloristic passages and punishing chaos. Especially the latter element knows how to make an impression, just like the unofficial closer (the last two songs are listed as bonus material on the printed matter) The Terminal Filter. Aggression and compelling epic themes alternate in a harmonious interplay with great beauty as a result. The long aftermath also ensures a fitting end to the album. But still, we are not there yet. Copper Blood, Titanium Scars is a wonderful sonic punishment, which is among the highlights of the album. The actual closing track of the album can be found in The Discord Static. Here …And Oceans draws heavily on the albums A.M.G.O.D. and Cypher with breakbeats, heavy electronic additions and industrial dance-ability.
Score:
86/100
Label:
Season Of Mist, 2025
Tracklisting:
- Inertiae
- Förnyelse i Tre Akter
- Chromium Lungs, Bronze Optics
- The Form and the Formless
- Prophetical Mercury Implement
- The Fire In Which We Burn
- The Ways Of Sulphur
- I Am Coin, I Am Two
- Towards The Absence Of Light
- The Terminal Filter
- Copper Blood, Titanium Scars
- The Discord Static
Line-up:
- Mathias Lillmåns – Vocals
- Teemu Saari – Guitar
- Timo Kontio – Guitar
- Pyry Hanski – Bass guitar
- Antti Simonen – Keyboard
- Kauko Kuusisalo – Drums
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