We Are The Ocean - Maybe Today, Maybe Tomorrow

They’re bold, they’re tight in their production and they’re not afraid to strip things back.

Label: Hassle

Rating: 7

Following the shock-exit of vocalist Dan Brown at the beginning of summer, many questions surrounding the execution of We Are The Ocean’s third album reared their head. A mix of anticipation and trepidation seemed high, yet any panic surrounding ‘Maybe Today, Maybe Tomorrow’ proved futile.

Opening with the delicate piano prelude ‘Stanford Rivers’, We Are The Ocean kick the album into gear as the bouncing riff and vocals of ‘Bleed’ takes precedence. Confident, bold, tight - it’s here that the band’s intent is clear: they are reinforcing their place in the new wave of British Rock, and they’re set to blow others out of the water.

‘Young Heart’ feels uplifting, soaring in its chorus, while ‘Machine’ too retains that inspiring undertone despite a harsher musicality. Offering a vulnerability between the addictive verse and the bold chorus, this reaffirms the excellence Liam Cromby’s vocals are capable of, from the gruffer rock quality to the restrained, exposed counterparts.

‘The Road’ contrasts entirely with its predecessor, yet the progression feels natural. Returning to the rockier vibe of ‘Bleed’, there’s a simply epic vibe, it feels as if they can’t be tamed. Title-track ‘Maybe Today, Maybe Tomorrow’ follows suit, proving almost anthemic in its chorus, while the folk-rock acoustic ‘Pass Me By’ appears more open and authentic.

Lyrically, the band deal with not letting the world pass them by to fighting oppression and standing on their own two feet. The record simply screams maturity and growth on their part. They’ve come a long way over the years and this solidifies the journey they’ve been on, both personally and musically.

From the lighter offerings to the straight up rock tracks, We Are The Ocean have reminded everyone that despite some serious changes in their dynamic, they’re still capable of rivalling British rock bands out there and dispelling any doubts that the genre is dying. They’re bold, they’re tight in their production and they’re not afraid to strip things back to their bare essentials or allow outside influences to shine through.