Along comes out of the blue, fruit of endless, I daresay rabid reconnaissance missions on the internet, looking for some hidden gem, an album that stops you momentarily from breathing. Often underproduced, with an almost amateurish sound, the playing nevertheless inspired is a joy to behold. Ocean was a one-shot German wonder from 1981 that featured piano (as well as keyboards), bass and drums, a 39-minute display of, as the title will imply, scintillating melody. No eccentric vocals, no showy electric guitars , no prima donna attitudes anywhere, just sheer sonic jubilation. That being said, this is no masterpiece by any stretch, but rather the comforting thought that there will never be any shortage of past discoveries, often even more exhilarating than the new 2026 arrivals heading our way! Dust off the sands of time and plunge into instrumental Triumvirat may be the best approach to describe the goings on here. The two keyboardists can play Jurgen Fritz with accomplished dexterity and zeal. Both Kunz and Hoffmann do a masterful job , while bassist Georg Heinrich adorns the arrangements with skillful lines, and drummer Thomas Pfeiffer keeps the rhythmic pulse tight. Every track has a clearly delineated melody that rules the atmosphere, making this a most pleasant listen. The cover certainly has no drawing power, it’s as corny as one could ever not hope for.
The title opening track was what sealed the deal for me, within seconds there and then! Splashing whitecaps hammering the shoreline, a distant solitary piano acting as a lighthouse beacon in the darkening oceanic haze, gently developing the theme with restrained eloquence. A mesmerizing 10 minute+ epic wave of delight rekindles impressions of double dimples, Spartacus and old loves dying hard. The fact that this magnificent piece remains unknown is downright criminal. Combining spirited playing with unending variations, whilst maintaining the core melodic spine is an achievement worthy of applause. Exhilarating.
The serene loveliness of “Katrin” possesses this aura of class and elegance that cannot be denied. At times sultry and then sassy, perhaps like the lady inspiring the title, this is a whirlwind of jazz-rock encountering prog within a romantic symphonism, technically impeccable and highly enjoyable.
The experimental aspect is promulgated on the bass-fuelled “7 to 8 Melody”, Heinrich carving massive slices of low-end sound, flute patch synths whistling with unabashed passion, and an overt desire to thrill the audience with audacious runs.
The rather complicated “Wild Pig “ may refer to vocalist /guitarist Willi Wildschwein founder of famed German band Grobschnitt, or maybe not! Either way, it is definitely rougher in both tone and delivery with some percussive piano work and an inordinate amount of flux and movement. The uncredited violin sounds are intriguing and there is enough ‘sturm und drang’ to satisfy the most devout Wagner fan, a demanding listen.
In no way content to just keep the foot on the same pedal, “Slow and Chromatic“ explores investigational tendencies, fusing wild electronic slashes with dense atmospherics, huge synthesizer and mellotron cascades causing a fair amount of trepidation, a glittering reward for this listener.
As the title states, “Melody Bass” offers the spotlight on Heinrich’s technical bass prowess, a subtle amalgamation of restraint and groove, helped along by a resonant piano that shoves this into jazz land lounge. This could have gone on for way longer than its 3.41 running time. Delightful.
And a convincing “Bolero” to complete the deal, the Thomas Pfeiffer pace clear as water , the powerful torpedo bass interjecting its muscle as the dolphin pianos grow in intensity. The crowning synthesizers take over the melody, surfing along for the drenching ride, an intensely satisfying frolic.
I really enjoyed listening to this honest offering multiple times, took me back to the glory days of vinyl, when going to a record store was a pilgrimage and not a chore. Oh, how I miss those heady times.
4 sonic tides