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The Light In The Ocean biography
THE LIGHT IN THE OCEAN is an Eclectic Prog band that picks up where the band TOM'S HANK left off. Made up of Jared Emery (guitars, sax, vocals) and Jacob Ewert (drums, keys, vocals), (both originally from TOM'S HANK), who are joined by band members Travis FREUDENBERG (bass, growls) and Chris JOHNSON (electric guitar).

The band released it's self-titled, debut album in 2019, and is currently working on a 2nd album to be released hopefully in April of 2020.

The music is a mix of styles that is Eclectic, but with influence from bands like SPOCK'S BEARD and ECHOLYN and hints of occasional metal outbursts and atmospheric passages.

=======Bio by TCat=======

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3.85 | 8 ratings
The Light in the Ocean
4.06 | 26 ratings
The Pseudo-Scientific Study of Oceanic Neo-Cryptid Zoology

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0.00 | 0 ratings
Live at the Razzle Dazzle

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 The Pseudo-Scientific Study of Oceanic Neo-Cryptid Zoology by LIGHT IN THE OCEAN, THE album cover Studio Album, 2020
4.06 | 26 ratings

The Pseudo-Scientific Study of Oceanic Neo-Cryptid Zoology
The Light In The Ocean Eclectic Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars Thoughtful appealing melodies and gentle sound. This is the sophomore album from a band coming out of the US/Minneapolis region. Their debut back in 2019 still was recorded by a four-piece line up. But on this occasion the term band must be relativated, as the core is reduced to multi-instrumentalists Jared Emery and Jacob Ewert. Nearly everthing is written, performed, and recorded by them both. By the way, before discovering THE LIGHT IN THE OCEAN they already have recorded music together under the moniker TOM'S HANK. With more focus on the instrumental execution on this occasion the sound is already offered with a distinctive design, it's definitely worth a try too. Now returning back to 2020, what I'm really fond of the provided variety in style and mood. A step forward, quite a sensation.

Where you certainly can recognize that they are from the States, occasionally I also hear some similarities to Umphrey's McGee. Exemplarily to notice during the extended closing track Hamilton Big Boys which also showcases some violin support by Stephen Decker. The album title, okay, some humour or pun intended? I suspect yet they are bashing a somewhat pseudo-intellectual pretension, elevatedness, we actually are faced with here and there. Concerning the production everything is balanced. Singing voices and technical skills are top notch. The charming relaxed Beat Thief is starting with a looping behaviour, plus external narrative voice support contributed by Michelle Zeto and Rusty Detty.

And then I'm especially stoked about the short super hit Coffee Stains, catchy melody, melancholic guitars, punching bass, simply perfect! Increasing enthusiasm with every new listening session. You can count on me as a new fan. Very inspired compositions, nifty regarding mood and execution, close to a masterpiece. Concerning both masterminds a lot of talent is available here. THE LIGHT IN THE OCEAN have released one new single track in 2021 so far. Hopefully there is coming more soon, and they will be able to keep the level high in that way.

 The Pseudo-Scientific Study of Oceanic Neo-Cryptid Zoology by LIGHT IN THE OCEAN, THE album cover Studio Album, 2020
4.06 | 26 ratings

The Pseudo-Scientific Study of Oceanic Neo-Cryptid Zoology
The Light In The Ocean Eclectic Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars Oh man-oh man have you prog lovers have got to hear this! Brilliant music with drop dead gorgeous yet heavily experimentally treated sounds doing a kind of tongue-in-cheek atmospheric sci-fi soundtrack.

1. "33-55-77" (3:49) opens with an awesome sound palette before kicking into structured heavy-rock voice-support. I'm reminded of both THE MERCURY TREE and MAUDLIN OF THE WELL. Another shift at 2:31 into MoTW with delicate microtonals. Dynamic, pitch-shifting electric guitar solo ensues over the top till end. Awesome start! (9.5/10)

2. "Beat Thief" (6:42) another great opening! Man these guys can play! Then sci-fi/spy dialogue between female and male agents over the top of some nicely woven support music. In the third minute the weave explores more of the treated piano capacities before everything slows down and "gets pretty." Interesting and very engaging spacious chord play between guitars, piano, bass, and drums ensues as the weave slowly rebuilds and picks up speed and momentum. I love this music! I'm sold! (9.5/10)

3. "Coffee Stains" (3:31) drums (hi-hat cymbal play) and deeply thrumming bass chords open this before guitars and voice join in. Not the greatest voice (or mix of the vocal track), but great atmospheric music. The bass replicating the main melody is killer! (9/10)

4. "HM&MLPHBWA" (3:01) almost too pretty of an opening for heavy or eclectic prog, the doubled up vocals are interesting. There's a cool UNAKA PRONG feel and sound here. Doubled up aggressive microtonal guitars (two tracks delivered to the two sides of my headphones) are cool. Then back the dreamy stuff for the end. (8.75/10)

5. "Biehn's Theme" (3:03) starts out rather standard modern metal fare but then adds a few interesting sounds and twists. (8.5/10)

6. "Memories Intact" (4:10) nice atmospheric sound palette for a fast-paced song. Then cover it with melodic, almost-poppy vocals and you have some nice ear candy. Bands like FROST*, INDUKTI, and KINO come to mind. (9/10)

7. "Sentimental Astronaut" (3:56) more great guitar chords/arpeggi with synth washes and deep-thrum bass notes and chords opens this one. Sounds a lot like PLINI, PAUL SPEER or MAUDLIN OF THE WELL. A very cool, engaging theme that is, in my opinion, only partially developed. (8.75/10)

8. "Hamilton Big Boys" (10:40) opens with a piano, violin and choral voice fabric while interesting DAIMON WAITKUS- like vocal sings over the top. At 2:10 things slow down and jazz-up a bit in a long bridge to a more electronic recapitulation of the main themes. Electric guitar and violin now compete for the melody carrier with the piano. At 4:33 there is a major shift into more PREFAB SPROUT territory--until the power chords and screaming metal vocals enter, that is. Cool instrumental passage in the sixth minute in support of the soloing violin, but then things amp back up again at the seven-minute mark for the strong PINK FAIRIES-like chorus. At 8:10 we come down again to a variation on the opening theme with arpeggios coming from picked guitar instead of piano while lead electric guitar wails away in the background. This last for the rest of the song as the music slowly fades over the final minute. Great song! (18.75/20)

Total Time 38:52

A very impressive album that captures some totally fresh sounds and variations on older styles. Definitely one to check out for yourselves--and a band (duo) that I'm going to keep an eye on! Kudos, Jared and Jacob! You've got a winning approach! I hope you can keep it going!

A-/five stars; a minor masterpiece of eclectic and innovative progressive rock music.

 The Light in the Ocean by LIGHT IN THE OCEAN, THE album cover Studio Album, 2019
3.85 | 8 ratings

The Light in the Ocean
The Light In The Ocean Eclectic Prog

Review by TCat
Forum & Site Admin Group Eclectic / Prog Metal / Heavy Prog Team

4 stars "The Light in the Ocean" is the name of a new band that formed in 2018 and have released their debut album of the same name in August of 2019. The band is made up of two members of another Eclectic Prog band called "Tom's Hank"; Jared Emery (guitars, sax, vocals) and Jacob Ewert (drums, keys, vocals) who have teamed with Travis Freudenberg (bass, growls) and Chris Johnson (electric guitar). They are helped out on a few tracks by some guests providing vocals and harmonies, trumpet and some growling vocals. The album consists of 12 tracks which range from 2 minutes to 10 minutes, for a total run-time of 65 miutes.

The overall sound is mostly quite atmospheric, but being an Eclectic brand of prog, varies quite a bit over the course of the album, moving from peaceful passages to sudden outbursts of heaviness which even includes growls in one track. The album begins with "Yakamoz" (2:53) which immediately evokes images of being on a ship in the water, the piano emulating waves with ascending and descending arpeggios, a nice bass line, a moderate drum/percussive beat, and later, some great guitar work. It's a nice introduction to the album with a breezy and carefree sound. "Bergherder" (10:06) starts with a smooth sound, and the vocals come in soon after. There is a nice jazz feel to the music and a lovely melody in the vocal line with some great harmonization. Again, there is the breezy and carefree attitude from the first track, but there are some sudden outbursts of heaviness that hint at rougher seas on the horizon. As the music moves along, the music slides almost casually into and out of heavy and dark sections. At 5 minutes, the instrumental break explores the heavy side of the music and after a while, the beat slows, but becomes a bit turbulent before passing into a more ominous section, and then suddenly returning to the original smooth melody, yet still passing into and out of darker sections. The amazing thing about the music is how easily it slides into the contrasting textures, much like it would be on the high, unpredictable seas.

"Space/Suit" (5:40) has a rolling percussion and more of the jazz undertones as the sound is a bit more threatening, and the vocals consist of layered harmonics that seem to want to give us a bit of comfort even though the music hints of being unsettled. It's a great contrast. The music takes it's time stirring things up over it's course on this track, and the guitar solo that comes in later stirs things up even more. "Seafarer's Song" (2:17) slows down the beat and presents a nice, floating instrumental with underlying horns and acoustic guitars. Very nice.

Next is a trilogy of songs named "Flickhead". "Flickhead I" (4:50) begins with the distant crash of thunder, and dark, ominous guitars, all played quietly with a slow beat. The keys bring in a layer that gives a sense of floating along. After 2 minutes, wordless vocals come and the music begins to intensify, until it becomes heavy at 3 minutes. The meter and tempo soon changes, goes through a progressive section where it changes meter and texture several times. The music builds and then moves into "Flickhead II" (3:25) where the music becomes peaceful, yet retains an unsettling undercurrent. A nice guitar melody is established as the music rolls on. Regular vocals come in before the 2 minute mark and then drums start to generate more movement pushing the track to the next section "Flickhead III" (7:39). Vocals begin quickly on this track, again with some great harmonic parts, but the sound of the track shows an increase of darkness, and the music and vocals intensify, then become heavier as the guitars push things forward, intensifying the music as it builds tension. At 5 minutes, things become very heavy, and the growling vocals come in when it reaches its apex. Even more tension is generated after this until things quiet down at 7 minutes to ominous whispers.

"The Smallest of Seafarers" (2:44) is more atmospheric, but feeds off of the darkness generated from the last track. The piano works to calm the guitars underneath it, but they start to try to disrupt things as they complain in the background. It's as if we have moved through a terrible storm and sailing out the other side. "StykDyk" (6:11) brings the jazz undertone back to the music and rolls along a bit smoother again. There is a nice rhythmic pattern made from the drums and guitar chords as the keys play along softly tying it all together. The guitar takes over at 3 minutes and plays a rousing solo for a short time before scat-like vocals come in bringing it back to a smooth jazz sound. Another, jazz fusion style guitar solo comes in and takes this smooth journey to its conclusion. "Perfamulated Amulite" (8:49) begins even more atmospheric with wandering guitars and keys, that give the music a romantic sound with European undertones. This one is exceptionally lovely in its instrumentation, the keys and guitars working together beautifully making a lush texture, pushing forward even without the help of drums or percussion. This music is so easy to get lost in at this point, even when it slows and becomes more reflexive. Then, an interesting turn at 4 minutes, when what sounds like the reading of instructions of some sort while the drum comes in behind it, then after 5 minutes, a sudden outburst of powerful guitars and wordless singing comes in. The music builds in intensity and darkness as it moves forward. All of this is done so seamlessly. After 7 minutes, it all calms down again, returning to that romantic reflective sound again. This track is definitely a favorite.

"The Seafarer" (6:45) starts more unsettled, and becomes a bit more chaotic, and this is reflected in the vocals that soon come in. The drums are flailing along wildly and the guitars bring in some heavy layers. The rhythm settles for a heavy moderate tempo after 2 minutes, and the guitars shove the music forward, building tension as it goes along. At 3 minutes, it gets into heavy progressive territory as everything gets dramatic and wild. Things get suddenly steady as the drums and guitar support spoken vocals from a frantic female voice. After, the music continues to push forward to the end. "Seafarer's Shadow" (3:54) ends the album with slow jangling guitars, a rolling bass line and wandering piano all working together in a crescendo. Soon, brass instruments float along with the instruments and a spoken word section comes in floating along in the music.

This album is an excellent debut album for this band and proves their ability to make some excellent music. It is mostly instrumental, but there are enough vocals spread throughout to keep the listener engaged. But it is mostly left up to the music to make the impressions needed on the listener's mind. The use of dynamics is excellent and the musicianship is top- notch. There are some passages that tend to drag a little bit, but for the most part, the music keeps you interested all the way through. There are defaintely some 5 star moments in this album, especially on the track "Prefamulated Amulite" and in the contrasts that you experience in the "Flickhead" trilogy. This is close to being a 5 star album, but just misses that mark. However, it is one that will merit returning to often as there are some really high points spread throughout. This is definitely one of the better albums released this year.

Thanks to tapfret for the artist addition.

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