Some bands have been around so long that they basically just make music for their established fanbase, and that’s fine. It means that you know exactly what you’ll get whenever they release a new album. Mostly Autumn launched Seawater on February 28th, and if you like the band’s past albums, you’ll like this, too.
Mostly Autumn comes to us from the UK; they are well-known for their ensemble progressive folk demeanor. The lineup on this album, I believe, is Bryan Josh on guitars, Olivia Sparnenn on vocals, Iain Jennings on keys, Chris Johnson on guitars, Andy Smith on bass, Angela Gordon on flute and keys, and Henry Rogers on drums. Troy Donockly guests on uilleann pipes and low whistle.
If you are familiar with the band, you already know what this album sounds like, essentially. Their music is classy, homey, mildly Floydian prog rock with lots of warm feelings, uplifting lyrics, and epic guitar solos. You’ll also know that a major highlight of their sound is the Olivia’s vocal performance, which is through the roof again this time. I will say that Bryan sings more often on this release, which feels a little odd, but it’s still good. Also, the drumming from Henry Rogers is exceptional—I loved his work with DeeExpus and his style is always a highlight.
Seawater is yet another love song to the band’s fans. In my view, the current era of the band started back in 2018 with the masterpiece White Rainbow, and 2021’s Graveyard Star felt like a lesser version of it. Seawater falls somewhere in the middle, still feeling like an extension of White Rainbow but having enough of its own character to get me interested. They give the fans what they want, and they make the music they enjoy. I can’t fault them for that.
Now, the record is technically a double album, but I’ve only heard the first disc, the album proper. The second disc is a bonus album which I hear is quite good. The first disc runs 76 minutes, though, so there is more than enough Mostly Autumn here. It has ten songs, and I feel like each half ends with the best tracks on the album.
The first half starts with “Let’s Take a Walk”, a welcoming piece with terrific guitar work. The rest of this part of the album is quite whimsical and nostalgic; songs like “Remember All the Rain” feel like earnest exhortations, and I like that. Songs like “When We Ran” seem like someone looking back on their life, and on their current relationships, and feeling thankful. It’s the kind of thing we need. The final track in this half is “If Only For a Day”, the big vocal track for Olivia; this one really delivers in that towering singer-songwriter style that she does so well, but I’ll say that the subtle keys really enhance the experience, and the huge guitar solo at the end is amazing.
The second half of the album is somewhat darker, I think. “When Nations Collide” is a little apprehensive, and “Mars” feels like a wish to leave this planet. “My Home”, though, is warm and fuzzy, and I really like it; the song is catchier than I realized on first listen. “Future Is a Child” is a hopeful and pretty epic itself, but the closer “Seawater” is basically worth the price of admission by itself. This piece is twenty minutes long and has some of the darkest shades I’ve heard from the band since The Ghost Moon Orchestra. I love the slight spine-tingling, almost Halloween vibes that rise after a few minutes, and it feels troubled and tumultuous; the eerie organ and cinematic shadows work so well to communicate this. It’s easily one of the best songs they’ve ever produced.
Seawater is, perhaps, more of the same, but that’s basically what a band thirty years old does, usually. Their physical edition already sold out and the fans are eating it up, so what more could they want? The album has some major highlights and will leave you with a storm of feelings, and so Mostly Autumn appears to be as effective as ever.
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Find Mostly Autumn online:
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The PROG Mind 