Captives of the Wine Dark Sea by Discipline

For the first time since 1987, the band recorded without founding guitarist Jon Preston Bouda. Chris Herin, from Tiles, took his place, bringing a sound that is more art rock and less symphonic compared to previous works. Thanks to Herin’s connection with the historic Rush producer Terry Brown, the album was mixed with an unprecedented clarity and balance of instruments in their independent productions. After years of self-producing through their label Strung Out Records, Discipline signed with Laser’s Edge, one of the most prestigious labels in the global progressive scene, for worldwide distribution of the record.

The album’s concept does not follow a linear narrative, but focuses on themes such as alienation, escape from reality, and the conflict between desire and the oppressive routine of daily life. The expression “Wine Dark Sea” is the English translation of the Homeric epithet “oinops pontos,” which describes a deep, dark, and menacing sea, evoking a sense of danger and ancient mystery. Parmenter uses this classical image to describe modern life. The “captives” are us, trapped in the monotony of the “everyday working world.” The “wine dark sea” represents existence itself: vast, at times intoxicating, but often dark and difficult to navigate.

The album is presented as a “means of escape to improve the working world.” Being “captives” implies the need for liberation, which Discipline offers through the dramatic and theatrical intensity of their compositions. Like wine, the sea mentioned in the title can be both a source of comfort and of oblivion or perdition. 
 

The album blends classic symphonic progressive rock with jazz, blues, and art rock influences. The mix of dark-prog, art rock, and theatricality, characterized by Terry Brown’s production, creates a unique sound. Matthew Parmenter’s vocal style, using his voice as a dramatic instrument, alternating whispers with histrionic shouts in full Peter Hammill style, is the distinctive element. The use of odd time signatures, angular guitar riffs, and tense atmospheres directly recalls King Crimson of the ’70s.

The album introduces unexpected nuances compared to the past. “Love Songs” takes an almost blues/cabaret approach, while the use of piano and horns recalls avant-garde jazz. While presenting a more modern sound, the album maintains a strong connection to classic progressive rock thanks to the massive use of Mellotron and symphonic keyboard layers. The tracks deviate from the verse-chorus scheme, developing as sound scripts in which the music changes abruptly to reflect the psychological evolution of the lyrics.
 

The album alternates epic suites with shorter, more direct tracks. 

“The Body Yearns” opens with a classic Discipline style, characterized by dominant piano and Matthew Parmenter’s theatrical voice. Midway through, the music transforms into a darker, more immersive atmosphere.

“Life Imitates” is a rhythmic and almost pop track that recalls Parmenter’s solo work and the style of Van der Graaf Generator.

“S”, the first of two instrumental tracks, is a tense piece characterized by sharp guitars that evoke King Crimson’s “Larks’ Tongues in Aspic” era. The evocative use of violin and Ebow further contributes to the track’s atmosphere.

“Love Songs” is an acoustic track with blues and folk influences, a parody of typical love ballads, ironic and “anti-romantic.” Its simple structure enhances its effect.

“Here There Is No Soul” represents the peak of alienation and emptiness expressed in the album’s concept. It is a more direct rock track.

“The Roaring Game,” another instrumental track on the album, is a crescendo of tension in which Parmenter’s piano and Chris Herin’s guitar face off over tight, hypnotic rhythms. A gem.

“Burn the Fire Upon the Rocks” is the album’s concluding suite. The fire “burned upon the rocks” represents a final rite of liberation or destruction to break the chains of captivity suggested by the title. This masterpiece masterfully blends prog, jazz, and symphonic rock, with generous use of Mellotron and an epic finale.

The cover image is truly unique. The red logo, reminiscent of a mythological creature or a stylized phoenix, has an eye at its center, a symbol of awareness and introspection, themes dear to Matthew Parmenter. The flame-shaped upper part refers directly to the last track, “Burn the Fire Upon the Rocks,” evoking the idea of purification through fire. The red of the figure evokes the movement of water or waves, recalling the Homeric sea. The figure itself thus becomes a representation of the sea “trapped” in a defined form. Compared to Discipline’s historic covers (such as Unfold Like Staircase), here a more graphic and clean design was chosen, curated by Geoff Maas and Rich Patterson. 

Captives of the Wine Dark Sea is an album that establishes Discipline as leaders of modern prog. Thanks to Terry Brown’s mix, the sonic clarity allows every nuance of piano and guitar to be appreciated. Unlike the past, where very long suites dominated, the album presents a contrast between shorter, art-rock style tracks and the 14-minute final suite, which enhances its enjoyability. Although less epic than Unfold Like Staircase, in my opinion it is an essential album in this band’s discography. 

Tracklist

My Version:

Label: The Laser's Edge – LE1079LP
Format: Vinyl, LP, Album, Stereo
Country: US
Release: Jul 7, 2017

The Tracks:

1. The Body Yearns (9:24)
2. Life Imitates Art (4:18)
3. S (4:11)
4. Love Songs (3:42)
5. Here There Is No Soul (3:20)
6. The Roaring Game (6:10)
7. Burn the Fire upon the Rocks (14:30)

Duration 45:35

LineUp

- Matthew Parmenter - vocals, keyboards, violin, rhythm and acoustic guitar, EBow, tambourine
- Chris Herin (Tiles) - lead and rhythm guitar
- Mathew Kennedy - bass
- Paul Dzendzel - drums

Link for listening:

Some tracks from the official Youtube channel DisciplineBand

Note: All links to the musicians' works are in the TAGS below the article title or on the "Artists"