SPOCK'S BEARD

Back in the mists of time (or the early '90s, if you prefer),SPOCK'S BEARD emerged into a music world that had very little time for progressive rock of any description. After its initial wave of pioneering brilliance ended in confusion amid an unavoidable changing of the tides, prog was widely regarded as an embarrassing anachronism, at least by music critics and the industry that jerked in tandem with the arrival of each newer and cooler new thing. But all that changed 30 years ago as the Los Angeles crew established themselves as standard bearers for an old way of doing things that was slowly being rejuvenated for modern consumption. Along with the likes of MARILLION, PORCUPINE TREE and Sweden's THE FLOWER KINGS, SPOCK'S BEARD represented the indefatigably creative mindset of rock musicians with more to offer than simple songs aimed at the mainstream.

Early albums like "The Light" and "Beware of Darkness" were quietly revolutionary, and by the time the band arrived at their first conceptual extravaganza, the mighty "Snow" (2002),the prospects for such an imaginative ensemble had been impressively enhanced. The departure of talismanic frontman Neal Morse that same year could have derailed a lesser band, but the strength of their ideas and the immaculate musicianship that consistently elevated their sound sustained the remaining members. They went on to record and release several more modern classics, 2005's glorious "Octane" among them. The arrival of a new frontman, Ted Leonard, for 2013's "Brief Nocturnes and Dreamless Sleep" (replacing drummer / vocalist Nick D'Virgilio) kick-started another golden era for SPOCK'S BEARD. Both "The Oblivion Particle" (2015) and "Noise Floor" (2018) maintained a strong sense of genuine progress, as original members Dave Meros, Alan Morse and Ryo Okumoto reveled in the chemistry between them and their more recently recruited comrades. And then, silence.

Seven years on from their last studio album, SPOCK'S BEARD are back and in a forthright, fiery mood. "The Archaeoptimist" is an album that initially flowed from the restless brain of keyboard maestro Okumoto, and it is his passion for this project that subsequently lured in the rest of the lineup for one more prog rock mission. The band's 14th studio album, this could be regarded as a comeback. A more truthful summary would be that SPOCK'S BEARD have sensibly avoided the chaos of the pandemic years and simply bided their time until circumstances were fully in their favor. "The Archaeoptimist" continues where its predecessors left off, as one might expect, but with great vigor and a dash of audacity. Six songs deep and squarely planted in the same, blissful territory that they dominated for so long in the past, it has the freshness and vitality of a debut and the underlying complexity that long-time fans will be expectantly demanding.

The first half is dazzling but relatively restrained. "Invisible" and "Electric Monk" present an ideal route into SPOCK'S BEARD's world of traditional prog, with all the flawless vocals, intricate interplay and atmospheric warmth that fans have grown accustomed to over the years. In particular, Okumoto's keyboard solos are uniformly magnificent, but every member of the band excels and there are so many astute, interwoven melodies and moments of classic prog indulgence that each song becomes an exercise in elevated ensemble perfection. "Afourthoughts" and "St. Jerome In The Wilderness" are understated gems too, with incredibly nimble arrangements and a diversity of instrumentation that underscores the breathtaking talent on display. But what the diehards have really come for are the sprawling, labyrinthine epics that most accurately echo the extravagance of prog's first era.

"The Archaeoptimist" is an outrageous, 20-minute splurge of sublime musicality, with a mid-section that incorporates STEELY DAN-style slickness and featherweight funk into SPOCK'S BEARD's multi-colored prog landscapes, and an eventual climax that has been strategically designed to bring the house down and tug heftily on the heartstrings. Grand finale "Next Step" is arguably even more striking, with its fiendishly elaborate maze of moods, melodies and dramatic warmth and Ted Leonard's predictably sonorous and stylish vocals (not to mention the exquisite harmonies of his band mates). The endless invention of classic prog is cherished throughout, but never to the detriment of the band's gift for enduring tunefulness. The production is detail-focused but overwhelmingly beautiful, the performances are ruthless in their adherence to the songs' righteous ebb and flow.

SPOCK'S BEARD may have taken a lengthy breather after "Noise Floor", but "The Archaeoptimist" provides plenty of evidence that the original ethos that gave the prog rock world a much needed kick up the rear end in 1992 is still alive, well and flourishing in 2025.