A few months back, I was lucky enough to get hints of California progressive quintet’s Sea in the Sky’s upcoming full-length. Right off the bat, I fell in love with Everything All at Once. (Take that every way you choose to.) I can’t remember a time where I became so invested in an album so early. Now, September 29th has finally come.
The wait for Sea in the Sky’s first full-length has proved without a doubt to be ten times worth the patience.
Vocalist Sam Kohl called the album “a massive, passionate step in the right direction”. I can’t help but ogle at the clarity of how right a step Everything All at Once is. This is the first release with contribution at every step of the process from vocalist Sam Kohl, as well as guitarist Jakob Bray’s debut album.Everything All at Once lets loose an entire sonic world constructed layer by layer into living poetry that flows seamlessly between vulnerable, existential topics.
Since Kohl’s joining and the release of the Visions EP, I’ve noticed a brilliant knack Sea in the Sky has for crafting deeply elegant, fascinating, and technical music.
Songs like “Visions” and “Tamagotchi” created effortlessly poignant jams that showcased Kohl’s gentle, nimble lyricism with the satisfying crunch of truly melodic djent. There were plenty of treasures each member fashioned into previous songs.
Pre-order our new album ‘Everything All at Once’ NOW! Out September 29th! http://www.seainthesky.bandcamp.com http://www.facebook.com/theseathesky Twitter: @TheSeaTheSky Instagram: @SeaInTheSkyMusic LYRICS: A trick of light, a slight of hand. There must be some mistake. Are we first to known this chance Or are we drowning in the wake of But I don’t know if I’m the one to have what it takes To keep this ground from slipping underneath us.
Everything All at Once has continued that trend to create the thrill of a thematic archaeology dig. It takes the many layers of musical treasure and parades them through 40 minutes of meticulous melody. It sinks its teeth in an ever-engaging groove, digging deeper into the musical sentiment than ever.
Looking at instrumentation, Everything All at Once is flush with vibrant licks.
The majority of these eye-widening moments sink into deeper levels of each song. Many become the centerpieces of intricate rhythm layers at the heart of each song. The resulting sound is encapsulating and beautiful, keeping true to the album’s sprawling namesake.
Everything All at Once takes resonance between vocals and instrumentals to seldom-seen levels of connection.
The instrumentals of Everything All at Once make their mark effortlessly. Between percussionist Daniel Larsen’s blistering rhythms, towering chords, and mind-blowing bass parts from Johan Guerra, there’s plenty of moving parts to keep tabs on. They all manage to open up space for Kohl’s deliberately rhythmic vocal style, and click together into a tear-jerking singularity. The chorus of “Night Anchor” is one of the many dazzling moments where everything works in ways that baffle the imagination. Starting with the crown jewel of a riff in the intro to “Pale Blue Dot”, the progression fits into an eloquent extension and cascades into one of the most satisfying, multifaceted walls of sound in the album.
The sheer number of times Everything All at Once achieves this rare connection as an album takes my breath in long, contented exhales.
Our NEW album ‘Everything All at Once’ is out NOW!!! http://www.seainthesky.bandcamp.com http://www.facebook.com/theseathesky Twitter: @TheSeaTheSky Instagram: @SeaInTheSkyMusic LYRICS: I dream of better days when I was a child, everything Seemed so easy through that narrow little lens I just want to feel that way again. Recount the hands of the clock as they came and went.
The technicality of guitarists Rodney Dudum and Jakob Bray is a matter deserves specific acclaim. My first listen of Everything All at Once quelled any doubts about the album’s debut guitarist, or his ability to shred and resonate.
Sprawling melodic patterns from Dudum and Bray come off the tracks hot and fast like pancakes made of djenty crunch and star-born substance. The styles of each guitarist springboard Kohl’s vocals to fully-supported greatness.
Kohl’s voice in “Everything All At Once” creates presence from a beautiful, disarming high-register tone. The strident falsettos and special lyrical punch he conjures leave a space that demands low-end presence.The first twenty seconds of “Neck Romancer” (a pun I spent a hot second gawking at) was all it took to convince me that bassist Johan Guerra could push with the guitar line to aesthetic insanity perfectly within Kohl’s niche. Guerra’s saucy bass licks are a testament at the foundation of Everything All at Once – he’s in his element in this album. The fireside bop starting “Neck Romancer” could have caused me to flip a table from pure exhilaration alone.
And as with any great melodic album, the vital signs of instrumental duality are alive and kicking. Brink-of-insanity walls in the title track complement a towering guitar solo in “Pale Blue Dot”. They exhibit pulsating intensity that shakes a listener up like a soda bottle ready to burst. Complementing from the other side, the sweet, gentle tones in “An Appeal to Emotion” create moments of respite and solace within the madness. Truly, it’s a joyous listening experience.
It’s hard to find flaws on Everything All at Once, but there are slight caveats I noticed.
Kohl delivers show-stopping constructs of lyrical and vocal potency throughout Everything All at Once. Sometimes, however, the vocals drop on the short end of a vocal phrase in the effort of attaining delicacy. Most of these sparse occurrences come in the high-register parts of the album. In some moments, the intense instrumentation mingles close with Kohl’s lyrics and the image becomes muddled. However, the vast majority of the sonic imagery make their mark in filling rooms and ears with euphoric presence.