THE SEA WITHIN

With a line-up that includes a diverse group of musicians such as Daniel Gildenlöw (Pain of Salvation), Marco Minnemann (The Aristocrats, Steven Wilson band), Tom Brislin (Renaissance, Yes' Symphonic tour) and two full-time Flower Kings in Roine Stolt (also of Kaipa, Transatlantic) and Jonas Reingold (also The Tangent, Karmakanic), how could new supergroup be anything but fascinating and full of variety?! That's a good mix of artists working in both modern and vintage sounding types of prog-rock collected together here, and it's that mentality that unsurprisingly spills over into The Sea Within's 2018 self-titled debut album. Prog-snobs be warned - the LP is not exactly a `prog' album as such, instead it's an eclectic collection of arty and colourful rock pieces with strong pop melodies that incorporates a wild range of styles that constantly branch off in interesting directions, but the tune and song is always the priority.

`Ashes Of Dawn' is a raucous and dramatic opener, full of heavy churning guitars and humming keyboards navigating up-and-back tempo spurts powered by skittering drumming, and guest Rob Townsend of former Genesis guitarist Steve Hackett's recent works steps in for a short Gong-like sax blast in the middle - never call this album predictable! Daniel Gildenlöw purrs with his always expressive silken vocal and rocking swagger, and the words throughout the track and entire disc are frequently surreal and cryptic (yet never `fantastical' as found on many prog works). The gloomy piano-led verses of `They Know My Name' hold a light unease that's contrasted with a stirring defiant chorus, and `The Void' is a muscular ballad, which probably sounds like a contradiction! Breathless thrashing rocker `An Eye For An Eye For An Eye' has a runaway momentum, but the highlight is a gorgeous jazzy piano solo in the middle from Tom that sparkles with finesse (and damned if little traces of Roine's guitar soloing at just after the six minute mark don't fleetingly remind of Stolt's hero Prince!).

While it's odd that Casey Mcpherson of Neal Morse-related side-project Flying Colors steps in for lead vocals for the first time at over the half-way point of the album, he brings an emotional raspy drawl to the deceptively sweltering funkiness lurking throughout `Goodbye', and there's a lovely dreamy repeating chorus that hints of Stolt's spiritual mindset and positivity (and the vibrant instrumental second half from the whole group is exceptional). Then (finally?!), `Sea Without' is the sole pure instrumental of the disc, and at just over a mere two minutes this teasing little sliver will likely have prog fans crying into their pillows for more, but you get a tasty little interlude of regal organ, announcing drumming and whirring synths that is actually the moment of the album that comes closest to a Flower Kings-like symphonic piece!

`Broken Cord' is the obligatory `epic' of the disc, a near-fifteen minute multi-part extended piece that opens as a Beatles-esque tune with inviting group harmonies, and the gloriously sun-kissed `Come hell or high water...' poppy chorus will lodge itself in your brain for days! It moves through tougher dramatic bursts with cool rumbling bass from Jonas making his presence known (is there seriously a better prog bass player active today?), some unhurried passages of ethereal guitar wisps, ringing chimes and gentle synth washes call to mind the classic Yes albums (and fans of that group will enjoy knowing that Jon Anderson is hiding somewhere in the background vocals of this piece!), and skilfully implemented reprises of both vocal and instrumental themes help bring a winning cohesion. Casey then takes the lead once more for closer `The Hiding Of Truth', a final warm ballad send-off with plentiful gentle piano and soft group harmonies over a restrained instrumental backing that slowly rises with an optimistic air.

Don't dismiss this album on a single listen, as it takes several spins to reveal just how many exciting details and compactly skilled instrumental touches are woven into even the more pedestrian spots of the disc. Admittedly those wanting a full-blown prog extravaganza are likely going to be hugely underwhelmed by The Sea Within, but others who appreciate diverse rock/pop albums that still retain intelligence and a smart musical backing that takes even the more straight-forward moments to higher grounds will likely find much to appreciate here. `The Sea Within' gets the band of the same name off to a very fine start, so let's hope we get to dive in (groan!) to this promising and talented group again in the near future!

Three and a half stars.

(and be sure to get one of the expanded two-disc editions that adds some worthwhile bonus tracks)

The Sea Within is a musical project/supergroup put together by German progressive rock label Inside Out Music in 2017, composed of an all-star lineup featuring members of The Flower Kings, Pain of Salvation, and Kansas, namely guitarist Roine Stolt, bass player Jonas Reingold, vocalist Gildenlöw, drummer Marco Minnemann, and keyboard player Tom Brislin, currently a member of Kansas. This collective is joined by Flying Colors singer Casey McPherson for their 2018 self-titled debut album (and as of 2025, sole release under this name), and while some might have expected a more flamboyant symphonic prog crossover, the music of The Sea Within is more of an eclectic mixture of mellow, dreamy and textured art rock, attempting to catch a somewhat "oceanic", floating feel, almost like a modern and livelier version of Pink Floyd.

The entire album exudes this cinematic and almost pop sensibility, which is quite a welcome experiment for the band members, considering their different backgrounds - the balance between the vocals of Gildenlöw and McPherson is nice and quite effective, all while the music remains tranquil and pensive, at times even tediously mellow, perhaps reflected in the lyrics and the peculiar but gorgeous album art. Among all that, Marco Minnemann's performance impresses as particularly outstanding, his fills and grooves become the essential drivers of many of the songs and he successfully manages to instill a liveliness to the band. The guitar playing is finely controlled and occasionally bluesy, nothing overly flashy and complex, while the keys are in that classic rock vein, which is definitely suitable for the music produced by this collective. Songs which ultimately end up as exemplary of the supergroup's style are the dramatic opener 'Ashes of Dawn', the melancholic tunes 'They Know My Name' and 'Time' (a touch of Floyd is inevitable here), the rather accessible and well-arranged songs 'The Void' and 'Goodbye', while the big 14-minute opus 'Broken Cord' lacks that edge and charisma that other entries on here exhibit. Closing track 'The Hiding of Truth' is forgettable, too, and the four-track bonus disc brings nothing overly exciting to the table - this record can be great at times, and can get boring at others.