Album Review: Cosmic Cathedral - Deep Water (2025, InsideOutMusic)
- Stuart Ball
- 5 minutes ago
- 8 min read
Written: 17th April 2025
The word supergroup is one that is often overused in the context of newly formed bands but it is safe to say that the word is fitting for Cosmic Cathedral. With Neal Morse forming the seed of the idea following time spent with drummer Chester Thompson at a Steve Hackett gig in Nashville, the first part of the line-up was formed. “As I was driving home I had a feeling that I should get together with Chester. A month later, we had lunch and he invited me over to his place and we had a really proggy, jazzy jam with some great ideas.” Already, Morse could feel that something was happening: “Chester plays in such a different cool way, it made me play differently.” The last two pieces in the puzzle were two musicians with whom Morse had previously worked: guitarist and singer Phil Keaggy, and bassist Byron House.
While it would be easy to assume that such a line-up, particularly one driven by Morse would produce an extremely prog rock influenced album, that is not completely the case on Deep Water. Opening track, the thirteen and a half minute The Heart of Life might certainly be prog-type length but as a multi-faceted beginning, it is an excellent introduction to the album. The introduction allows the track to build naturally and we are able to enjoy what each member of the band has to offer instrumentally. Compelling grooves inhabit the song, House’s bass throbbing and forming an impressive partnership with Chester Thompson who as Morse suggested, brings something completely different compared to some of his previous drummers. There are moments of beautiful guitar that bring to mind early Genesis a little before the two minute mark and these are juxtaposed with the more funk-laden third minute of the song. This certainly sounds like a band enjoying themselves and Keaggy lays down a faster solo that shows just how good he is at bringing emotion to the proceedings.
After three minutes, the tempo drops, instruments peel away and we are left with a brief moment of contemplation with just Morse’s keyboards to focus our attention before the first lyrics are sung. Oh the love that made the plan / To take the brokenness of man away / Hey, hey. Reflecting a journey from pain to spiritual renewal through divine love, Morse draws on his beliefs to help illustrate that love is the true reason for living. While there are moments that describe overcoming fear, there is a delightful optimism within the music. Despite its running time, the track is never in danger of becoming stagnant and we are half-way through in what seems like a few moments. The second half of the track allows further opportunities for each member shine and as one might expect from Morse, there are musical themes that reoccur at different points.
Time To Fly is an altogether different track: part chilled, breezy yacht rock - part lounge music. It begins at a slower tempo with subtle flourishes from Morse and Keaggy who also share the lead vocals. More sedate in nature it might be but it remains a catchy and hook laden track that makes interesting use of horns and saxophone. Byron House comments, “I remember loving the way the groove & all the different sections of ‘Time To Fly’ came together. The horn section & backing vocals add really nice touches. Jaco was my original inspiration when choosing bass as my instrument — was a joy to play my original Fender fretless on this one!” Later, there is some lovely intertwining of keyboard, guitar and sax solos together with luscious background vocals, which keeps the sense of optimism high on a hopeful song that deal with transcending hardship and embracing the journey ahead.
A raw, emotional cry for help, expressing the exhaustion of self-reliance, I Won’t Make It is a heartfelt ballad. With dramatic strings and several key changes, it just manages to stay the right side of being overly sentimental and one cannot argue with the passion with which Morse delivers his lyrics. The track’s strength’s lay, once again, in the quality of musicianship on show. Chester Thompson perfectly encapsulates the atmosphere of the track, adding graceful accents in the quieter moments and more power when required.
Continuing the theme of divine truth as light and love, the nine minute Walking In Daylight begins with a grander introduction before settling with a staccato keyboard motif which repeats during the verses. Choruses are slightly smoother and the band’s skilled arrangements are noticeable once more. A jazz inspired piano break from Morse adds yet another feel to the album and Keaggy’s guitar work is unfussy but inspired. Walking In Daylight finds Cosmic Cathedral allowing themselves time for some experimentation and the central section allows some of the more progressive aspects of the band to be explored.
It is no surprise to find that much of Deep Water was written when improvising in the studio, with many moments collated by Morse’s long time audio partner Jerry Guidroz. As Morse explains, “Much of the album came directly from the jam sessions, where we were spontaneously creating in the room. Even a lot of the lyrics just came out of our mouths! It was amazing!”
The album’s title track and centrepiece is a thirty eight minute, nine part suite that begins with Morse’s invitation (delivered via a vocoder), Launch out into the deep water / Come down / It will be better than you know. The following two minutes sets up the rest of the suite and many progressive moments are to found within them. Keaggy’s guitar is resplendent and sets a feeling of expectation. While Thompson delivers various interesting fills, Morse visits the extremes of his keyboard and House’s bass drives everything relentlessly forward. Part II of the suite is entitled Launch Out (Part One) and Morse challenges comfort zones and dead routines, urging instead spiritual risk and renewal. House’s bass continues to rumble and at times, Morse’s vocals – by the standards of the album – are demanding and insistent.
Part III: Fires Of The Sunrise oozes an aura of comfort through its introspective tones and lyrics which encourage solace in letting go and yielding to trusted guidance. The Launch Out lyric is used several times during the suite and Morse and House trade lead vocals. And you launch out / Where the air is full and mystical / So come out / Where it’s anything but typical / And that’s where / Every moment is a miracle / And is this the reality / Or is the desert where we make our home what’s real?
As if to emphasis the variety on the album, Part IV: Storm Surface is a prog-laden two and a half minute instrumental that reflects turbulence and inner conflict. Keaggy is the star of the show here and his extended solo gives him free reign. Everything calms once again for the start of Deep Water Suite V: Nightmare in Paradise but darker waters lay ahead as Morse offers a piercing critique of modern excess, consumerism and emotional numbness. House’s mysterious and foreboding bass a little before the two minute mark is one of the most fascinating passages on the album and Morse’s spoken word warning is stark and unforgiving. There’s still so much I have to consume / As photos of gadgets galore fill the room / It’s like an itch I just have to scratch / I think Oxycodone has met its match. Together with Storm Surface, it reveals the band’s willingness to venture into more dynamic and vivid sonic territory as Morse fearlessly explores the shadowy realms of temptation.
As Nightmare in Paradise concludes, a familiar melodic refrain returns and leads directly into Launch Out (Part Two), a short joining section that restores the feelings of positivity. The New Revelation section has a more straightforward intoxicating rock feel but still has plenty of groove and jazz inflections. Morse states, “These guys are real groovers: even if they're playing proggy stuff, it has more of a Steely Dan feel to it, but when Phil and I start singing, it sounds like The Beatles! In Deep Water, the ‘New Revelation’ section is based on a jam that turned into something that could have been on a Sting album!” In a thirty-eight minute suite, variety is essential and without doubt, Deep Water has this abundance. Nothing is rushed and it is easy to imagine the central part of New Revelation developing in one of the jam sessions mentioned by Morse. As the final minute begins, one might expect that it is the last track of the suite such is the feeling of conclusion but Cosmic Cathedral still have more to offer.
Following Launch Out (Part Three), the ninth and final part of Deep Water begins. The Door To Heaven builds steadily over its eight minutes, bringing the suite to a powerful and redemptive close. In a fashion that will be familiar to fans of Morse - and on the mostly overtly Christian track, the lyrics reflect a journey from wandering and drought to fulfilment and clarity, where Jesus is portrayed as both the guiding presence and the source of living water. You’re the water, the deepest place I know / The peace and promise that fills my thirsty soul / I sing for Jesus, it was for me he died / He unlocked the door to heaven / Now we can pass from death to life. With each musician contributing with purpose and sensitivity, The Door To Heaven evokes a sense of majesty and closure. The inspired vocal interplay—first Morse, then Keaggy—underscores a shared conviction, allowing the listener to feel the band’s collective embrace of the song’s profound and unifying message. Deep Water ends with Morse back at the vocoder, bringing the suite full circle.
On Deep Water, there is a clear and unmistakable camaraderie and a sense of true collaboration that is confirmed by the band members themselves. Phil Keaggy states, “The album is a musical feast- full of creative imagination and heartfelt lyrics. In my opinion, this recording is one of the highlights of my musical career!” And considering who he played with in the past, Chester Thompson's praise for the project is compelling, “I am super excited for people to hear this album. There was great communication between all the players. One of my favourite projects I’ve ever been a part of!”
Making the most of their vast range of talents, Cosmic Cathedral have produced something that probably would not have happened as a Neal Morse solo project as it has allowed him to experiment with different, slightly unfamiliar avenues and a range of musical styles, all of which work exceedingly well. He describes it as, "Prog meets Yacht Rock meets The Beatles," and does not think that will a problem for fans of his more progressive material, “I know that prog fans really enjoy something that’s good, even if it isn't in an odd time signature, although this album also has plenty of stuff in odd time signatures! But I also think that fans will appreciate how different it is: just the way that these guys play is completely unique to them and quite amazing.” While some of the lyrics are rooted in the Christian faith – which will come as no surprise to those familiar with Morse – much of the heart of the album is about spirituality, positivity, love and restoration, all of which might offer a sense of connection and hope to us all in a time of societal uncertainty.
Deep Water is an album that requires an investment of time to gain the most from it but with such a high level of musicianship – each member truly makes his mark on the album - and songs that veer from progressive to groove to moments of jazz fusion, it will appeal to a range of listeners prepared to do just that.
Deep Water is released on 25th April 2025
NEAL MORSE online:
INSIDEOUTMUSIC online: