Studies show that heavy music inspires some of the most loyal listeners globally among fans of all genres. This isn’t a surprise to most of us with a taste for heavier music, since most mainstream music is mildly annoying at worst and nails on a chalkboard horrid at worst. One style of music that often doesn’t get enough credit is post-Rock, often a sonic kaleidoscope of moods, ebb, and flow, and cathartic releases. Even though it’s many fans will shout from a mountain top, or in a Reddit community about their undying love for these bands, they are still not often top of mind when average fans rattle off “Most Anticipated albums lists”. Still, The End Of The Ocean is a band that inspires the highest devotion, since their last full-length album until now was Pacific-Atlantic and their 2012 EP In Excelsis was their last new music until now. The band spent 2018 reconnecting musically and writing again, producing the comeback album, -aire (Equal Vision).

The album begins with the pensive ‘Endure’. More akin to a movie theme opening or music heard in the background at art installations, the short track starts timidly. Slowly it grows bolder measure by measure. Finally, it breaks stride into a trot. It’s a pretty epic start and sets the table nicely. Second track ‘Bravado’, by contrast’ roars out of the gate with a hype intro, before setting a chill pace. Lovely layers of guitars ring out and dreamily pass by.

‘Jubilant’ is just that with Trish Chilsom and Kevin Shannon dropping triumphant guitar licks guaranteed to make you smile. ‘Self’ starts with a haunting synth before the rest of the track builds. Tara Mayer on the keys is the secret weapon of this band. Many post-Rockers use keys, but few do so as tastefully. The acoustic guitar gives this a very pastoral flavor, not unlike an early Pink Floyd track.

The centerpiece of the album is ‘Homesick, the longest track’. Another very chill opening, ever so patient before the rest of the track rumbles to life. A very emotional song. Props to bassist Jason Ham and drummer Wes Jackson for their precise parts, doing just what is needed to bring weight and movement to each song. ‘Forsaken’ is another track with just a delicious bass tone and great sonics. Few modern bands can do the loud/soft dynamics this well. Possibly my favorite song after five playthroughs of the album.

‘Redemption’ and ‘Ascend’ are both solid, late album tracks, while ‘Desire’ is giving me those feels I got from the last A Perfect Circle album. ‘Birthright’ is another stunner to close out the proceedings.

For a band that had years and years out of the spotlight, an album like this ought to remind everyone of their potential for greatness.

8 / 10

KEITH CHACHKES