SEAWATER

2025 has already been quite a year for prog releases, with acts such as Dream Theater, Karmakanic, Steven Wilson and Pattern Seeking Animals, already having released very strong albums (which I have reviewed) along with releases on the horizon like (Alex Lifeson's) Envy of None and The Flower Kings, and lesser known acts that I have either reviewed or done a spotlight on like Andy Toomey, The Swan Chorus, Magic Pie, and Massimo Pieretti, either already releasing new material of about to do so.

Today, I will be reviewing the latest album, called "Seawater", from UK Prog-Folk stalwarts Mostly Autumn. They have been led by guitarist/vocalist/songwriter Bryan Josh since their founding in the mid-90s, and he has been the only consistent member throughout their history. MA has been described as a blend of Prog-Folk and harder edged Neo-prog with a lot of Pink Floyd influence (several of the original members played in a Pink Floyd Tribute band); in fact, not long before his passing, PF keyboardist Rick Wright mentioned that he liked their music. They even released a live PF tribute album in 2004. This is their 15th studio album since they began releasing them in the late 90s. While I have heard a fair amount of MA songs in the past, I am far from an expert. This will be the first album of theirs I will have listened to in its entirety. This line-up has been pretty stable for around a decade, with only one member change since 2015 (so far as I can discern) when Henry Rogers took over the drum throne in 2018 from Alex Cromarty.

Here is the line-up for the "Seawater" album:

- Bryan Josh / guitars, vocals - Olivia Sparnenn-Josh/ vocals - Iain Jennings / keyboards - Chris Johnson / guitars - Andy Smith / bass - Angela Gordon / flute, keyboards - Henry Rogers / drums

With: - Troy Donockley / uilleann pipes, low whistle (1,2) (he is a frequent MA collaborator)

Without further fanfare, let's dig in. This is a cold listen with the exception of having heard and really enjoying "If Only For a Day."

Track 1 - Let's Take a Walk (Featuring Troy Donockley)

It begins with a slow fade in of nature sounds, The instruments begin entering quietly by around 20 seconds. Just before the one minute mark some power chords are strummed, then Donockley enters with his pipes. The first vocals enter after the 2-minute point by Bryan Josh. Drums begin accenting as we get to the 3 minute point. This is getting a slightly Celtic flavor as we progress. The rhythm section enters along with a nice organ wash. By around 4:20 the instruments go back down to menial levels. Olivia Sparnenn-Josh sings harmonies with her husband (they married after she had been in the band for several years, first as a background singer, then a lead singer). The sound is very full and well-produced. At 5:44 Donockley re-enters. If it weren't for its 9 minute length, this could be a hit on country radio (that's NOT an insult, to be clear); it's a bit like something John Mellencamp would do (again, except the length) and he'd probably be considered country if he came out nowadays. Great guitar solo at the end from Josh. To sum up, I'd say it's a rockin' tune with a mixture of Celtic and country flavors. It's prog in its scope, if not in its execution. Regardless, I really like the song! It has a great energy to kick off the album.

Track 2 - Why Do We Remember all the Rain (Featuring Troy Donockley)

This one has a 6-6 Celtic lilt at the beginning with Donockley on his flute. Olivia takes the lead vocals here, and she sounds wonderful. The beat switches to 4 as the rest of the band kicks in. Henry Rogers is playing a cool drum part. A guitar solo begins around 2:40. This one has more of the sound I have come to associate with Mostly Autumn. I love how the guitar and flute lines intertwine around 4 minutes. Great track!

Track 3 - Be Something

Bryan Josh takes back over on lead vocals right off the bat with a strummed acoustic guitar. He has a bit of a gruff voice, but he makes it work! After the upbeat 4-4 opening chorus, he goes into a slower 6-8 for the verse. On the second chorus, Olivia joins him with some subtle playing from the rhythm section. The alternating meters keep happening in the same manner. The chorus is a bit of an earworm. It finally opens up to the full band around 2:45. They like to fill the sound with a big fat organ tone. There is a key change leading into the guitar solo, which is based on the choruses. This is a very inspirational song. Great song!

Track 4 - When We Ran

Soft, ethereal keyboards start this one out. A piano joins, beginning to establish a slow rhythm. Bryan is the lead vocalist as the singing begins. This is very quiet so far. The music comes to a pause at around 2:15, then a rhythmic synth part that reminds me of the synth part that begins "The Secret of My Success" by Night Ranger starts. The synth then adds a melodic part that almost seems Spanish or Mexican in nature (not sure why, but that's the impression it gives me). This has developed a bit of an 80s new wave synth vibe augmented by some power chords. Olivia joins in on harmonies in the next section and the bridge. At 5:00 the key goes up a step for the guitar solo. Following the solo, we have a "breakdown" section. The chorus returns at around 6:15. The melodies are very uplifting. Another key change happens at 6:40, then yet another for the next guitar solo at around 7:15. The song begins to fade out over the final minute while the guitar solo continues. However it doesn't fade entirely, there is a definite ending. I believe Angela Gordon doubles some of the guitar lines with flute towards the ending. Good track!

Track 5 - If Only For a Day

This is the one I have heard already, but only once before. It begins as a piano ballad in a minor key with Olivia singing. Her voice is very expressive. She jumps an octave on the 3rd verse. A subtle rhythm section starts on the second verse. This song is a slow burn. Power chords kick in half way through the verse and the rhythm section gets stronger. This song is heavy in a "Comfortably Numb" kind of way. Bryan Josh likes the "key change for guitar solos" thing. Olivia's singing is phenomenal on this! Another guitar solo follows. Bryan is really showing his Gilmour influence here. Lots of powerful sustained notes with emphasis on the feel. My favorite track on the album so far!

Track 6 - When Nations Collide

Soft keyboards and Olivia's voice start us off here. A strumming acoustic (12 string I believe) joins in at just before one minute. We are in a slow 6-8 here. The song gets a stronger rhythm starting at around 2:30 The guitar solo explodes in at around 3:35. This one is also Floydian, reminding me of "On the Turning Away." There are some interesting chord progressions in this one. The stunning voice of Olivia Sparnenn-Josh is the clear star of this song though. (I've been using her first name for much of the review though for "economy of typing." No disrespect meant.) Nice track.

Track 7 - My Home

This begins with some sound effects, joined by some clean electric guitar that sounds like its inside of a very large echoey bathroom. Bryan Josh is the singer here. 12-string acoustic is blended in. The song kicks in with power chords and it begins to have a slightly country vibe again. Bryan is singing in the lower ends of his range for the verses, then jumps up a register in the choruses. Nice key change for the bridge at around 2:40. They key changes for the guitar solo again. Bryan likes to sing the big, inspirational, pump-you-up kind of songs. This one almost has a Bon Jovi vibe to it in the chorus, but please don't hold that against it! It's a good track!

Track 8 - Mars

This one begins with a hymn kind of feel to it. Bryan is the lead vocalist again. This one's lyrics seem to be a call back to the previous song, when he sings "To think that I could lay down on Mars, and dream of my home? (Olivia joins in) So far away." At 2:20, the song suddenly gets "huge" sounding and Olivia takes over in dramatic fashion! Then, guess what? The key changes for the guitar solo! (It's all good though, Bryan! It's nice hearing key changes.) Some of the notes in the solo are excessively high, so I believe he is using a slide past the end of the neck, over the body of the guitar to get them, or he is using an effect pedal, but I believe it is the former. Olivia returns on vocals afterward. Her vocals are spectacular! Great track!

Track 9 - Future Is a Child

Keyboard tones and acoustic guitar enter with a very slight "Welcome to the Machine." vibe. Bryan starts the vocals by singing the title phrase. Olivia joins on the second verse, and there is a subtle rimshot rhythm in the drums. At one minute in or so, the music explodes and Olivia takes charge on the vocals! Bang! It reminds me of when Ann Wilson jumps an octave on "Alone" by Heart. Bryan takes back over on the verses, soon joined by Olivia on harmonies. The drums pick up the rhythm. Olivia does her fantastic dramatic thing again around 2:30. Nice vocal harmonies in the bridge. Bryan takes an acoustic lead at around 3:30?tasty. Olivia takes back over again afterward. A cool flute solo with Moody Blues vibes happens at around the 5 minute mark. Then Bryan takes over with a big descending riff behind his solo. The first time I have heard the bass stand out on the album is around the 6 minute point. Big solo from Bryan as the song reaches its conclusion. This is one of the better tracks on the album. Well done!

Track 10 - Seawater

But one track remains, and it's a doozie! The 19 minute closing title epic! Quiet piano commences this one, then Olivia begins singing softly, sometimes doubled an octave lower by Bryan. There are thunder sound effects with the vocals & piano after 1:10. The music pauses briefly around 1:40 then a more rhythmic piano part takes over (Iain Jennings, I assume, although Angela Gordon also plays keys along with her flute skills). This is a well-played classical style piano part. The rhythm section kicks in near the 2 minute mark. Olivia resumes singing around 2:30. Nice harmonies around 3:30. Then Bryan kicks in with a guitar solo (without a key change). Once again, his Gilmour influence is apparent. I like the walk down at around 4:45. Sound effects of an ocean storm follow. Rhythmic keys and sustained bass begin to emerge from the effects. At around 5:50 choir-like vocals begin singing staccato "doot doot doots" in harmony, and a siren sound effect follows. This song is very cinematic in its approach. String orchestra-like synth sounds join in at around 6:40. Then there is a sudden shift to the distorted guitar bass and drums taking over the staccato theme that the vocals had been doing with all of the sound effects gone. At 7:10 the band locks into a moderately fast groove, then angelic voices join in backed by synth. Olivia begins singing lyrics again before the 8 minute mark. It is quite dramatic around 8:50. They are singing about tsunamis here. At 10:17 everything except a piano playing low notes and hushed vocals drops out. A high pitched piano note joins in and by 10:35 we have a synth solo; the first on the album. The tsunami chorus returns at around 11 minutes. By 11:30, acoustic guitar and drums tale over, playing the rhythmic motif from earlier along with wind sound effects. Synth- strings join in creating a churning ocean effect. The band crashes back in around 12:10 with Bryan taking over on vocals. Choir-like vocals return, backing him up with "ahhs" as the music builds in intensity. There is a loud crash of thunder around 13:30 that brings us to another pause for wind and ocean sound effects. A moderately slow 6-8 rhythm on 12-string acoustic guitar, bass and drums takes over by the 14 minute point. The Joshes join in singing vocals in octaves. Just after 15 minutes the music gets HUGE with orchestration--nice! Layers are being added as the music proceeds. Just prior to 18 minutes Bryan plays lead over the top. Then at 18:18, the music suddenly stops. We return to the quiet piano from the introduction, with post-storm birds chirping as this wonderful epic reaches its conclusion. This is definitely the flagship song of the album. Superbly done!

OVERALL IMPRESSIONS:

A solid album indeed. I enjoyed every track. However, if you're looking for odd-meters and lots of twiddly-bits, this may not be the album for you. The closing epic title track is definitely great prog, and overall, while the music is well-arranged, well-written, and well-performed, some of the tracks are not what most people would call prog. And that's ok. I just want to be clear about it. If you want some good song oriented music that is played and sung by wonderful musicians, that's what we have here. I'll give it a 4 out of 5 stars, as it is very good, but I was only blown away on a few tracks, especially "If Only for a Day," "Future is a Child" and "Seawater."

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