ÜÛÛÛÛÛÜ °ÛÛÛÛÛÜ ÜÛÛÛÛÜ°ÛÜ °ÛÜ ÜÛÛÛÛÛÜ ÛÛÛÜÛÛ ÜÛÛ ÜÛÜ ÜÛÛÛÛÛÛ ÜÛÜ ÜÛÛÛ °ÛÛÛÛ°ÛÛßÛÛÛÛ² ßÛÛ ÜÛÛ°ßÛÛÛÛÛ ÛÛÛÛ ÛÛÛ² ÛÛÛÛÛÛ²ÛÛ ²ÛÛÛÛÛÛÛ ÛÛÛ²°ßÛßÛÛÛÛ ÛÛÛ² ÛÛÛ² ²ÛÛÛ° ÛÛ ÛÛÜ ÜÛÛ²ÛÛ ²ÛÛÛ²ÛÛ° ²ÛÛÛ°ÛÛÛ°ÛÛÛÛÛÛÛÛÛÛÛÜ ÛÛÛ°ÛÛÛ° ÛÛÛ° ÜÛÛÛ ÛÛÛ ÜÛß° ÛÛÛÛÛÛÛÛ°ÛÛ ÛÛÛÛÛÛÛÛÛÜ ²ÛÛ°ÛÛÛ ÛÛÛ²ÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛ ÛÛÛ ÛÛÛ° ÛÛÛÛÛÛÛ ÛÛÛ² °ÛÛ ÛÛ ÛÛÛÛÛÛ² °ÛÛ ßÛÛ ÛÛÛ°ÛÛÛ²ÛÛÛÛÛÛ ÛÛÛ²ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛÛÛÛÛÛ°ÛÛÛ° ÛÛÛ ÛÛÜ ÛÛ²ÛÛÛ° ÛÛÜ ÛÛ°ÛÛ² ÛÛÛ ßßÛÛÛÛ ÛÛÛ°ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ²°ÛÛÛÛÛÛÛ° ÛÛÛ ÛÛÛ²ÛÛ ÛÛÛ ÛÛÛ²ÛÛ²ÛÛ° ÛÛÛ ²ÛÛÛÛ ÛÛÛ ÛÛÛ ²ÛÛ² ÛÛÛ ÛÛÛ° ²ÛÛÛÛÛÛ ÛÛÛ ²ÛÛÛÛ ²ÛÛÜ ²ÛÛÛÛÛÛÛÛ ÛÛÛ ²ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ°ÛÛÛ ÛÛÛ °ÛÛÛÛÛÛ ÛÛÛ °ÛÛÛÛ °ÛÛÛ ÛÛÛ²ÛÛÛ² ÛÛÛ °ÛÛÛ ÛÛÛ ÛÛÛ ÛÛ²ÛÛÛ ÛÛÛ ÛÛÛ²ÛÛ ÛÛÛ ÛÛÛ ²ÛÛÜ ÛÛÛ°ÛÛÛ° ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ °ÛÛÛÛÛ ÛÛÛ ÛÛ²°ÛÛÜ ÛÛÛ ²Ûß ²ÛÛÜ ÛÛÛ ÛÛ° ÛÛÛ ÛÛ² ÛÛÛ ÛÛÛ °ÛÛÛß °Ûß ÛÛ° ÛÛ °Ûß °ÛÛÛÜ ß ß ²Ûß ÛÛÛ° °Ûß ÛÛß ÛÛ° ÜÛÛß °ÛÜ ÜÛÛÛß °ÛÛ ° ÛÛ ²° ²° ÛÛ° ²Û° °Ûß ßÛ° °Û² ° ÛÛ ÛÛ Artist: The Sea Within ÛÛ ÛÛ ² Û°° þÛ Album: The Sea Within Ûþ °°Û þ Û²ß Û Year: 2018 Û ß²Û ° Û ² Rel. Date: 2019-02-22 ² Û ± ± Genre: Progressive Rock ± ± ÛÜ ° Label: Inside Out Music / Sony Music ° ÜÛ ° ÛÜ ° Source: CD ° ÜÛ ° Û² Type: Album ²Û ° ² Û Quality: VBR, 44.1kHz, Joint Stereo Û ° ² ² Û Û ° ² Ü þ þ ² þ °Û Û° ß Û The Sea Within – a new art-rock group formed by Û Û Roine Stolt (Transatlantic, The Flower Kings), Û Û Daniel Gildenlöw (Pain of Salvation), Jonas Û Û Reingold (The Flower Kings, Karmakanic, The Û Û Tangent), Tom Brislin (Renaissance, Spiraling, Yes Û Û Symphonic, Deborah Harry) & Marco Minnemann (The Û Û Aristocrats, Steven Wilson, UK, Joe Satriani) – Û Û have announced they will release their Û Û as-yet-untitled debut album in Spring 2018. Û Û Roine Stolt comments on how the project came Û Û together: “I think all it started as a suggestion Û Û from the record company - putting together a new Û Û band, starting fresh, seeing if collective writing Û Û could spawn a unique style. Call it a supergroup Û Û if you want - I think we can handle that.” Û Û The members recently entered Livingston Studios in Û Û London to begin recording the basic tracks, and Û Û found an instant chemistry in the way they worked Û Û together. “Going into the studio in London was Û Û taking a great risk as we had not been in the same Û Û room together beforehand.” Roine continues: “We Û Û had just sent demos around and didn’t really know Û Û if we could make great music together, but we Û Û managed to track almost 2 hours of new music, a Û Û mix of collective ideas. We also had a lot of Û Û great ‘off-time’, sharing laughs and stories in Û Û local pubs – that part is important.” Û Û Currently the members are putting the finishing Û Û touches on their debut album, and of the music’s Û Û direction Roine says: “There are elements of prog, Û Û pop, art-rock and many cinematic elements. I Û Û suppose the music comes from within our collective Û Û memories of all that we love as far as sounds, Û Û visions and poetry. We hope that discovering the Û Û music will be a journey for the open-minded fan - Û Û something as fresh and uncertain and unfolding as Û Û it is for us”. Û Û Drawing on their collective experience from across Û Û the rock and prog spectrum, The Sea Within sees Û Û them coming together to craft new music that sees Û Û them all leaving their respective comfort zones Û Û and challenging themselves. Û Û Û Û --- Û Û Û Û Every vessel needs a captain, or it might drift Û Û and sail into oceanic oblivion, although it helps Û Û immensely to have a talented crew. Captain Roine Û Û Stolt, a legend in Progressive Rock, has done his Û Û fair share of steering over the years, but this Û Û time he has chosen a cohort of explorers that are Û Û each, in their own right, recognized masters of Û Û their respective crafts. Û Û Û Û Just consider this line-up: with Stolt are Û Û legendary skin-beater Marco Minneman (also singing Û Û and playing guitar), the one and only Jonas Û Û Reingold on bass, Renaissance’s Tom Brislin on Û Û keyboards/vocals and Pain of Salvation’s Daniel Û Û Gildenlöw on lead vocal and guitar. Flying Colors’ Û Û vocalist Casey McPherson appears on three songs Û Û and will be touring with the band. Add to this Û Û already intimidating list the names of guest Û Û artists Jon Anderson (yes, him), Jordan Rudess Û Û (yes, also him) and Steve Hackett’s woodwind Û Û player Rob Townsend, and you have a list of names Û Û that will draw collective, and very expectant, Û Û breath in Prog world. Talk about an “all-aboard” Û Û line-up. Wow – (or should I say ‘Ahoy’.) Û Û This ship is manned by the most expert navigators Û Û – that much is clear. Naturally, the result has Û Û been massive fan expectation and the inevitable Û Û rife speculation. Well, the ocean can be Û Û everything from a fun and frothy surfer’s Û Û paradise, to a terrifying, engulfing storm, from a Û Û pool of clear coral beauty to a vast abyss of deep Û Û darkness, and all that comes in between. Where do Û Û this captain and crew take us? Let’s dive in. Û Û Opener “Ashes of Dawn” is the heaviest song on the Û Û album and certainly one of the darkest. Û Û Gildenlow’s and Stolt’s vocals are aggressive, Û Û anguished and tortured. The song is about the Û Û world’s economic chaos and is suitably weighty. Û Û Should you expect The Flower Kings? No. Agents of Û Û Mercy? A little. What you should really expect is Û Û King Crimson, 2018-style. There are no ‘spring in Û Û the meadow’ images here. Stolt and Reingold go out Û Û of their way to make the song deep, dark and Û Û intimidating – like the bottom of an ocean abyss. Û Û Townsend’s sax solo is also very King Crimson, Û Û abiding by this intended homage. Minnemann makes Û Û his effervescent mark typically early on, and Û Û ‘Red’-era King Crimson is the flavor of the Û Û moment. The vessel is weighty, laden with cargo, Û Û navigating dark waters and exploring familiar but Û Û frightening themes. Û Û “They Know My Name” is more pensive and gentle, Û Û but no less dark in flavor. Despite this, it is Û Û not King Crimson. The band start to explore other Û Û compositional waters here, through Tom Brislin’s Û Û efforts. Based on a lurking and pensive Brislin Û Û piano intro with an interesting chord progression, Û Û the song develops in to a Minnemann-driven chorus Û Û pattern with scattered accents, accompanied by Û Û Reingold’s huge, lingering bass tone. The chorus Û Û has a Classic Rock feel, and the song develops Û Û into a pleasing, if familiar, theme, ending with Û Û an anthemic guitar passage. Brislin steers us Û Û through the dark harbor. Û Û Calmer waters approach. Third song “The Void” is Û Û slow and pensive, but extremely haunting and Û Û captivating. One of my favorite songs on the album Û Û “The Void” has an excellent, haunting melody based Û Û on a gentle acoustic riff that sounds like the Û Û misty slopes rendered in the lyrics. There can be Û Û no doubt that Reingold had a dominant role in Û Û composing the music for this song, which is Û Û somewhat reminiscent of Karmakanic. It is a Û Û stupendous composition with miles of depth. Û Û Gildenlöw’s vocal is one of the best on the album, Û Û with a particularly anguished tone to his voice – Û Û perfect for the languid nature of the song. I did Û Û not feel the need for the Moog solo that appears Û Û in the mid-section, and thought that the song Û Û would probably have sailed even better without it. Û Û But soon enough that magnificent, effusive and Û Û tortured melody returns, to swirl around the last Û Û verse, which ends the song beautifully. ‘The Void’ Û Û is absolutely breathtaking. Û Û “An Eye For an Eye” brings matters to a much Û Û faster, pounding pace, starting as a full-on Û Û rocker in which Minnemann is given full remit to Û Û open up his startling chops. It is no surprise Û Û that Minnemann wrote this song. His fills are, as Û Û you would expect, confounding, and the song starts Û Û fast, heavy and hard. Regardless of the trickier Û Û Prog fills and time signatures, this one could, Û Û strangely enough, have been Thin Lizzy on Prog Û Û steroids. For those who like to rock, ‘An Eye For Û Û an Eye’ will be a highlight of the live set. It Û Û features a beautiful lingering guitar solo – as Û Û good as anything Stolt has done, just rockier. Û Û Then, led by Reingold and Brislin, the song takes Û Û a turn – the keyboard solo arrives and the song Û Û suddenly becomes tight and complex jazz-rock. Û Û Intricate and neo-jazzy, the solo is brilliant, Û Û and Brislin shows that he clearly deserves his Û Û place. After the solo, a jagged pattern again Û Û exposes Minnemann’s wildly animated fills and Û Û leads into a melodic bridge, before the Rock Û Û returns to bring the song to a triumphant climax. Û Û There is a German torpedo in the water and it Û Û explodes in this song, which is a meridian on the Û Û album. Û Û “Goodbye” is, for me, the high watermark of this Û Û album. It begins with a quirky, staccato 7/8 Prog Û Û bass-riff that is very unusual and immediately Û Û entrancing. This intriguing riff remains Û Û throughout, but also morphs into a Û Û delayed-gratification verse by McPherson, and a Û Û glorious chorus. It is hopeful, happy and Û Û fulfilling ‘Recounting my life, it wakes my soul, Û Û here I’m free, the river is an ocean, I’m a Û Û river’. There is something about the nature of Û Û McPherson as a performer that is of itself Û Û uplifting, and his voice, especially when Û Û counterpointed against the other vocalists in the Û Û band, is perfect for this varied Prog arrangement. Û Û The lead solos interspersed in the song are Û Û superb. While reminiscent of Stolt’s ‘70’s melodic Û Û Prog influences, he stamps his own unique sound on Û Û to them. At times, the song sounds like it could Û Û have been done by Yes if they had progressed Û Û compositionally into 2018 (though it is true that Û Û not even a Yes drummer has ever played double kick Û Û drum quite like Minnemann does here.) The whole Û Û song is a triumph, and the wild expectations of Û Û the band’s potential fans around the world will be Û Û fulfilled by this song. It is no surprise that Û Û ‘Goodbye’ was a collaborative composition between Û Û all five main band members. This is the Û Û compositional structure that works best for The Û Û Sea Within, and they should create more songs like Û Û this gem, which has everything. The oceans are Û Û alive. Û Û “Sea Without” is a jagged and discordant Û Û instrumental exploration of Crimson-esque Û Û progression, with some added sonic magnitude, Û Û lasting two minutes. Reingold delivers one of his Û Û signature fretless riffs at the end. It is a Û Û decent enough meander, but one feels that more Û Û could have been done with it. Û Û “Broken Cord” comprises the obligatory 14-minute Û Û epic. Interestingly, it was not composed by the Û Û five main members, like the brilliant ‘Goodbye’ Û Û was. The song took several days to grow on me, but Û Û ultimately did so. It has a clear Sergeant Pepper Û Û feel at the beginning, and progresses from there. Û Û Various quirky, interesting, ethereal and anthemic Û Û passages create an overall result that is Û Û excellent, though not triumphant. It drags Û Û somewhat in places until the lead solo (with Û Û Stolt’s famous sound) rescues it. I had to listen Û Û hard for Jon Anderson’s appearance, which is one Û Û of the backing vocals behind McPherson’s and Û Û Gildenlöw’s alternating leads, and his Master’s Û Û Voice is placed appropriately enough. The vocal Û Û harmonies in the chorus create an expectation of Û Û redemption, and indeed, the body of the song kicks Û Û in with Stolt and Brislin solos that redeem the Û Û arrangement. There is some further meandering Û Û thereafter, including a few redundant passages Û Û that could have been edited to create a slightly Û Û more finely-crafted epic, which I have no doubt Û Û the band will do in the future. Regardless, TFK Û Û fans will love ‘Broken Cord’ because the sweet Û Û vocal melodies so prevalent in that band are to be Û Û heard here. As a huge TFK fan, I appreciate the Û Û artistry of creating a slow, deliberate build, and Û Û I am prepared to invest in it. However, some might Û Û feel that this technique belongs in TFK rather Û Û than The Sea Within, whose line-up may have Û Û created somewhat different expectations. The song Û Û contains many great moments, but a slightly less Û Û expansive approach would have made it even more Û Û special. Either way, the song will ultimately Û Û please listeners and will certainly fulfill its Û Û ‘epic’ intent after some listens. Rudderless? No – Û Û more like a delayed and very exploratory Û Û traversing of wide-open seas. Û Û Jordan Rudess makes an appearance on ‘The Hiding Û Û of Truth’ and one can immediately hear it, because Û Û his technique is simply unmistakable. He is on Û Û this song because of the way he plays – not Û Û because he is Jordan Rudess. The song is an Û Û elliptical Stolt pop melody that begins with Û Û swirling atmospherics, great Rudess piano work, Û Û and Casey McPherson’s outstanding vocals. It Û Û develops into a strong pop ballad. McPherson has Û Û an uncanny ability to create a hook just with the Û Û tone of his voice. Rudess’ intricate piano work Û Û sustains the song, and allows Stolt to provide a Û Û great melodic lead solo that is more about feel Û Û than notes. Û Û The release apparently comes with a 26-minute Û Û bonus disc in all versions. The first song on Disc Û Û 2, “The Roaring Silence”, builds from nothing, Û Û through an ethereal opening, into a good, heavy, Û Û dark Prog composition that provides the listener Û Û with a crisper experience. “Where are You Going?”, Û Û a Brislin/Gildenlöw composition, starts as a piece Û Û of ethereal pulchritude. With a Beatles vocal and Û Û a misty riff, it soon then builds into a solid Û Û enough ballad, with an anguished feel. It is Û Û simple but good. “Time” is another compositional Û Û collaboration between the five main members. It is Û Û sad, dark and moody, and again reminiscent of King Û Û Crimson in an introspective mood (though Û Û admittedly with more expansive vocal Û Û arrangements). Filled with grief, the song is very Û Û emotive. Lastly, “Denise” is strange narrative of Û Û a man telling his woman that he will not be back Û Û because he is in prison, and asking her to Û Û remember him by their good times near the river. Û Û Filled with regret and remorse, it is reminiscent Û Û of a modern Prog take on ‘The Prisoner’s Song.’ Û Û Overall, The Sea Within’s first album is a highly Û Û impressive but diverse voyage. Passengers on this Û Û ship will experience expansive high sea views, Û Û daunting subaqueous emotional depth and even Û Û fathomless submerged darkness. But they will also Û Û enjoy pleasing coral imagery, aquamarine beams of Û Û musical light, frolicking waves of melody, Û Û compositional variety and, most certainly, Û Û virtuosity of oceanic proportions. If the album Û Û misses the total perfection that its line-up Û Û portends, it is only because some of it feels a Û Û little more fragmented than it perhaps could have Û Û done. There is, without ever becoming piecemeal, Û Û some exploration on open waters. The distinct Û Û impression created is that the band ought to Û Û co-compose more as a unit, rather than the various Û Û members proffering their completed compositions Û Û individually. With the exceptions of ‘The Void’ Û Û and ‘An Eye For an Eye’, the most successful Û Û compositions on the album are the fully Û Û collaborative ones. The brilliant ‘Goodbye’ is Û Û most certainly an example of this. As these superb Û Û musicians begin to tour, to gel as a band, and to Û Û work together as much as geographical distance Û Û allows, they will no doubt combine to become the Û Û great force in Prog that has been predicted. The Û Û tempest has risen, but it will become a tsunami Û Û when these winds are harnessed together. Û Û The Sea Within’s first major gig will be in July Û Û 2018 at The Night of the Prog Festival in Germany. Û Û It will be interesting to see the frenzy with Û Û which the band, and Minnemann in particular, are Û Û welcomed there. I have no doubt that the crowd Û Û will be frothing like surf. The band intends to Û Û tour extensively, and is booked to appear on Û Û Cruise to the Edge, which will be a defining Û Û moment (not just because of the band’s name). Û Û When there are expectations this large, it can be Û Û a little unfair on the creators of the work. Is it Û Û quite as brilliant, special and perfect as the Û Û pundits have demanded it to be? At many points, Û Û yes, though at a few, perhaps not. But this is no Û Û temporary life-raft. On the contrary, there are Û Û some songs here that already place The Sea Within Û Û at the crest of a burgeoning Prog wave. The vessel Û Û has launched successfully, and even greater oceans Û Û await. With a little editing and more consistent Û Û production, the band is destined for some very Û Û exotic voyages indeed. There are masterstrokes on Û Û The Sea Within’s debut album – more than enough to Û Û augur well, if not guarantee, a massively Û Û fulfilling voyage, now and in the future. Don your Û Û life-jackets. Û Û Û Û Marco Minnemann: drums, percussion,vocal, guitar Û Û Jonas Reingold: bass Û Û Tom Brislin: piano, organ, synthesizers, vocals Û Û Roine Stolt: lead electric & acoustic guitars, Û Û vocals, orchestral FX Û Û Daniel Gildenlow: lead vocal & guitar Û Û + Û Û Jon Anderson: vocals (Broken Cord) Û Û Casey McPherson: vocals (Broken Cord, The Hiding Û Û of Truth, Goodbye) Û Û Jordan Rudess: grand piano (The Hiding of Truth) Û Û Rob Townsend: tenor saxophone (The Ashes of Dawn) Û ² ² ± ± ° 1. Ashes Of Dawn 5:59 ° ° 2. They Know My Name 5:09 ° ° 3. The Void 4:54 ° ° 4. An Eye for an Eye for an Eye 7:01 ° ° 5. Goodbye 5:31 ° ° 6. Sea Without 2:23 ° ° 7. Broken Cord 14:10 ° ° 8. The Hiding of Truth 5:34 ° ° 9. The Roaring Silence 8:06 ° ° 10. Where Are You Going? 5:54 ° ° 11. Time 7:18 ° ° 12. Denise 5:16 ° ° 77:15 ° ° ± ± ² Û ° ² ° þ ÛÜ ° ÛÛ ßÛÜ° ÜÜÜÜÜ ² ° ÜÜÜÜÜ °ÜÛÛ° ° ßÛÛÛÛ²ÛÜÜÛÛÛÛÛÛÛÛÛ²° ÛÛÛ ÛÛÛ²° ÛÛÛÛÛÛÛÛÛÜÜÛÛÛÛÛÛß ² ²ß² ±ÛÛÛÛÛÛÛßß ßÛÛÛÛÛÛÛÛ± °ÛÛÛÛÛÛÛÛß ßßÛÛÛÛÛÛÛ°²ß² þ ° ÜÛ°ÛßßÜÛÛÛÛܲ ßÛß Û²° ±²Û ßÛß ÜÛÛÛÛÜ ßÛÛÛÜ° ÜÛß° °ÛÛÛßßßÛÛÛÜ ßÛ± ÛÛ² ÛÛ ²Ûß ÜÛÛÛßßßÛÛÛ° ßÛ° Ûß ²ÛÛ² ÜÛÛÛ ßÛ² ÛÛÛÛ ±Ûß ²ÛÛÛÜ ²ÛÛ² ßÛ² Ûß ²ÛÛ° ±ÛÛÛÛÛÛ² ßÛ Û² Ûß ²ÛÛÛÛÛÛ± °ÛÛ² ßÛ ± ÜÛÛ °ÛÛÛ ²ÛÛÛ² ß°ÛÛ°ß ²ÛÛÛ° ÛÛÛ ÛÛÜ ± °Ûß ÛÛÛ Üß ÛÛÛÜ ²ÛÛÛÛ± ÜÛÛÛßÜ ÛÛÛ ßÛ° ²Ûß ÜÛÛÜÛß ° ÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ßÛÜ ÛÛÜ ßÛ² Ûß ÛÛÛÛßÛܲ°ÜÛ ßÛÛÛÛÛÛß Ûܲ°ÜÛßÛÜÛÛ ßÛ² ° Ü ÛÛß ßÛÛÛÛß ßÛ²ßÛÛ ßÛÛÛÛß ßÛÛÛ Ü ± Û°Û² ÛÛ° Û° Û °ÛÛ ßÛÛ±Û ÛÛÛ° ±Û° Ü ² ± °Û± ²ÛÛÛ ° ²ÛÛ ° ÛÛ² ÛÛ° °ÛÛ Û± ° °Û ßÛ Ûß ² ° °