Progressive Rock music is a funny thing. Often pretentious, up its own arse, quite frankly snobby and elitist. Almost like you have to be super clever to get it, the musical equivalent of Jeremy Paxman asking a contestant from an old Polytechnic a question about thermo-nuclear physics on University Challenge, with an obvious sneer because they don’t go to an Oxbridge college. In short, their seriousness can make them seem ridiculous and open to much mirth.
However, every now and then you come across a band that who have a sense of humour, who are self-aware and who can create great music whilst not taking things too seriously. One for whom progressive music doesn’t have to be dour and only for a niche, but can be entertaining, fun and welcoming whilst retaining all its virtuoso playing and performing.
With a name like Spock’s Beard no one could accuse this Californian band of being dour or elitist. Their music has always been both clever and accessible; something that they’ve continued to achieve on their new album, being released on the 25th May, ‘Noise Floor’. The album is full of what singer/guitarist, Ted Leonard, describes as ‘crazy prog,’ whilst also working on making the songs ‘more immediate.’
And for sure, they’ve achieved it with this collection of smashing tunes featuring beautifully played instruments; both trusted old friends plus new orchestral additions of strings and horns. Spock’s Beard have been developing their sound and style for over twenty years now and find themselves at a point where they can take time to develop and create their music which results in this album being released at a point when all members were in agreement that it was the best work they could put out there.
With all members of the band writing and recording demo’s independently before bringing them together to be worked on collectively in production, there is a great sense of exceptional quality being produced over quantity for the quantities sake. The album itself, and accompanying E.P, displays its influences with pride; the hints of 1970’s prog such as Yes, Genesis and Supertramp, influences that have led to songs of majestic beauty such as the wonderful Bulletproofthat appears on the ‘Cutting Room Floor’ E.P.
It is fair to say that the album isn’t without flaws; the jazz instrumental of Box of Spiders jars slightly, but it doesn’t diminish from what is an accomplished and melodic journey through the slightly crazy world of Spock’s Beard. Die-hard fans will find more than enough typical output to allow them to enjoy the musical development that this album represents. And those for whom this will be their first exposure to the band will find plenty to enjoy and will also spark interest in finding out more of the bands back catalogue.
Legendary US progressive rockers Spock’s Beard have announced the release of their 13th studio album ‘Noise Floor’ for May 25th, 2018. As announced previously, for this album Ted Leonard, Alan Morse, Dave Meros & Ryo Okumoto are joined in the studio once again by drummer & original member Nick D’Virgilio.
Spock’s Beard is a band that is in a continual state of evolution, as is always the case with genuinely creative musicians. And their new album, ‘Noise Floor’, fits perfectly into this process.
We are always about evolution, not revolution. But what we have done this time is make the songs more melodic,” believes vocalist/guitarist Ted Leonard. “We still love our crazy prog, but now appreciate how important it is to grab people’s attention early on.”
As with all Spock’s Beard songs, most of the new album was written by the individual members, and then brought to the rest of the band as high quality demos. “We all do this type of thing in our home studios,” adds Leonard. “So, by the time they reach the stage where the entire band get to judge them, they are really developed, and therefore everyone can make a reasoned judgement.” Much of what you will listen to here is very much the product of fresh inspiration from the Californian band.
One key change on this album sees the return of drummer Nick D’Virgilio, who originally left in 2011. There are also two violinists, a cello player, a viola player and an English horn featured on the album, thereby giving the sound a slightly more evocative and persuasive twist.
The album was once again engineered by long-time collaborator Rich Mouser and will be released as a 2CD digipak (featuring an EP of material from the same sessions), gatefold 2LP + 2CD & as digital download.
The track-listing is as follows:
Disc 1 – Noise Floor
1. To Breathe Another Day
2. What Becomes of Me
3. Somebody’s Home
4. Have We All Gone Crazy Yet
5. So This Is Life
6. One So Wise
7. Box of Spiders
‘Time’, it’s a strange thing. Undetectable without relying on specialist intervention – slow motion or time lapse cameras show us its effect, mirrors reflect the effect it has on us. Time is both measure and measured, we slice it up and record its passing, yet time is the single most important concept we have. Without it, there is no ‘now’ and no ‘future’ or ‘past’.
If someone in the future invents a time machine and travels back, we would know it, wouldn’t we? They’d stop wars, point humanity on the right path to prevent destruction of the planet, encourage us to support the exploration of outer space, reveal the evil of reality TV etc.
If there is such a machine and such people were taking requests, then I think Spock’s Beard need to borrow that time machine to go back and meet their earlier selves.
The one thing they need to communicate, without putting the future of the universe at risk with causality and paradox, is they should seriously think about changing their name. No matter how good they are as musicians, no matter how epic their epic tracks are, the name conjures up all the wrong associations. Geek chic it ain’t…
Twenty years of Spock’s Beard. To me, they are part of the “new wave” of Prog, post Genesis, and post Twelfth Night et al. They write long, epic tracks and started as they meant to go on with complex multi-part tracks that are polished and assembled on this chronological trip.
The first piece by them I’d heard, from a cover mount free CD was At the End ofThe Day and it wormed its way into my consciousness. I went on a voyage of discovery, picking up second hand copies of their albums, then deluxe first editions as they were released. I didn’t realise but SB and it’s off shoots, side projects and affiliates take up a large chunk of my modern Prog pile. The tentacles spread out, from Transatlantic to Roine Stolt’s Flower Kings to NealMorse’s solo work to some bunch of internet sprout wranglers; the Beard has links to it all.
Yet they are not mentioned in the same pages that eulogise Mr Wilson, fawn at the uttering’s of lesser talents with better haircuts. But they deserve their place in such company.
They write record and perform long, complex pieces; they can rock out with the best, with an instantly identifiable sound. It is a broad pallet of sound – vocal harmonies, kicking brass section, attacking keyboards, and guitars too, underpinned by some severe drumming talent.
In many ways, Spock’s Beard are the quintessential American Prog band. Musically adept, lyrically optimistic, almost slavish attention to detail. There is a lot going on in these tracks, almost too much at times: This “everything but the kitchen sink” approach is evident in the tracks that start this CD.
The younger version of SB, fronted by a scarily long haired version of Neal Morse, seemed to want to be taken seriously, very seriously. Every track is a constructed of multiple parts, instrumental breaks and moments of sublime beauty. The Guitar and keyboard coda of the track in question still makes me stop and hold my breath.
The cynical amongst us may deride SB as Genesis wannabe’s as there are striking similarities between the evolution of both bands.
Both bands produced complex, multi part tracks across their first albums.
Both bands “lost” their original vocalists and replaced them with the incumbent drummer stepping up to the front.
Both vocalists departed leaving, as their swansong, complex double concept albums in their wake.
Both bands then changed to a more direct, full on direction and reaped the benefit of commercial success.
But here our stories diverge, as SB then floundered with a mid career fallow patch ( to me, “Feel Euphoria” was a band in a holding pattern) .They then rediscovered their Prog Mojo with “ Octane” , the opening 7 part concept sees them at their best ,describing a car accident from the POV of the driver. The sheer beauty of his life unfurling is a testament to the collective ability of the ensemble in that it skates close to cloying sentimentality. But the combination of words and music convey the love of life and of hope in the face of adversity which reflects the lyrical obsessions of Mr Morse and the spiritual quest that pulled him away from the band.
One part of this epic, my favourite post Morse SB piece, is here in burnished re-mastered glory.
She Is Everything is one of Prog’s great love songs. A song that makes you want to share the joy of this experience, the lyrical content is crafted around a tune that comes straight out of the classic pop tunes book. It’s a love song that in a few short verses leaves you fully understanding the depth of feeling conveyed, but without getting caught up in sentimentality.
I mentioned earlier Neal Morse’s swansong, “Snow”, my favourite SB album.
It’s that most “Prog” thing, a concept album detailing the life of Snow, an albino loner with a psychic ability. He grows up in the Midwest, move to New York, undergoes an epiphany , uses his powers for good, falls in love with the wrong girl, ends up fulfilling his prophetic vision of his future ( see, time again! ) then gets saved by his friends.
Mixing Christian myth, Robert Heinlein’s ‘Stranger in a Strange Land’ and taking the good from every concept album ever written, bits of ‘Tommy’, ‘The Lamb’, ‘The Wall’ & Bowie and Roeg’s ‘The Man who fell to Earth’ all are thrown into the pot. There are bits that Yes would be proud of, Marillion would recognise and ELP would tap their feet to. In short, it is the quintessential Prog Rock concept album.
But if that all sounds clichéd, it succeeds on the strength of the music. It ebbs and flows beautifully, from a gentle acoustic representation of Snow’s innocent childhood to the depravity of the cess pit of New York to the pain of unrequited love through the depths of despondency and out on the wings of hope and love.
The tune selected for here, The Wind At My Back is the centre of the piece, appearing twice at the climax of both discs. Its harmonies and themes run all through the album and serves as a fitting memorial to Mr Morse’s tenure as vocalist.
If this Collection has done nothing else, it’s made me dig out my SB CD’s, and go looking to fill the gaps in my collection.
X, represented by The Jaws of Heaven seems a return to the more Prog rock version of SB than the previous albums, with this track highlighting the keyboard strengths of the band. There’s a whole raft of sounds – Mellotron, piano, strings, brass all flowing together and complimenting Nick D’Virgilio’s fine vocals.
Over the two discs of this compilation we have witnesses the young Prog overachievers throw everything into the mix, then slow down, give us vocal harmonies, fine melodies and songs, become increasingly adventurous with their lyrical subjects which culminated in an epic modern fable. Then the singer quits and their drummer takes over.
The band move onto new terrain, ploughing a rockier landscaper, but still sowing the seeds of Prog, they start to really find their musical point in the cosmos with a trio of albums…
And then they lose another front man! NDV jumps tracks and we all know which train he’s hitched his wagon to!
It’s starting to read like a Prog Spinal Tap here, without the gardening joke, but nothing is going to slow the progress of the Beard. If you’ve lost a front man, not a problem: steal (or borrow, though do you have to give him back?) one from another band.
Enter Ted Leonard from US Prog metal band, Enchant. Now I had a couple of Enchant CD’s once. They didn’t survive the great CD purge. They were nice, inoffensive formulaic Prog Metal. Too twiddly for me to be honest, the downfall of Dream Theater in my humble opinion. I go for the Miles Davis approach. Play one note instead of ten as long as it’s the right note.
Jump to 2013 and the release of “Brief Nocturnes and Dreamless Sleep”. And it sounds like the old SB, back to their proggy best. The track chosen here, Waiting for Me features the SB “sound”, vocal harmonies and glorious melody, a superb production as we have come to expect. This track shows how far the band has travelled but they’ve still retained their core spirit. They use keyboards to complement the guitar as did Deep Purple before the departure of Mr Blackmore. Drums are high in the mix, but unlike Metallica , SB have a world class percussionist who drives the songs forward rather than running alongside trying to grab the steering wheel.
The penultimate track is the first track on their most recent album. Criticisms have been levelled at the band for moving away from their sound, but, on the evidence of this track, the 2015 SB is rolling on nicely, with some great guitar and keyboard touches. The Deep Purple comparison is very evident with the Hammond being prominent, but to me, this is a good move as that classic sound of guitar, Hammond, bass and drums drives the song onward.
And so, gentle reader, we reach the track that most Beard heads will be forking out for. A track that promises all 3 front men together (well appearing on the same song). And we start with gentle piano and strings, then a very Early Yes like rhythm and sound.
It’s Very Yes like. The Proper Yes. Roger Dean Artwork Yes.
There’s a nice instrumental section, with all working together to create a melange of melody. Guitars are edgy and the metal influences are there, but the big Prog chords and drums keep them firmly in their place.
The music swells and slows, we are anticipating vocals as the rhythm changes and we get acoustic guitar a drum then a voice.
More voices, it’s no longer a song of parts as the song moves through a very folksy part with at least 2 different voices singing parts, then we switch moods again and a third, much more rock voice appears.
I’m enjoying the interplay of instruments and voices on this first listen, I’m not too focused on the lyrics as they flow with the tune and I’m more interested in the structure first, lyrics second.
This is possibly a result of continued exposure to bands singing in languages I’m not conversant in ( i.e. everything except English) but as I get older and the reading of lyrics stops being feasible due to CD sized fonts and ole eyes, I find it easier to concentrate on the whole thing.
Well, it’s a Spock’s Beard epic track. Lots of glorious vocal harmony. Glasses full of guitar and keyboards. There are fine performances from all 3 singers.
As you would expect, their voices complement each other, the sound is one that SB have perfected. It’s a compliment to them that time flies by as you listen. The track allows them to do what they do best.
Listening again (the third time) this track reminded me of another band. It opens as if it’s from those dextrous players on a cosmic adventure, Utopia, circa 1973 when Todd Rundgren was in full cosmic flow, expanding his (and our) consciousnesses.
The more I listen, the more the track strikes me as a statement of where American Prog is today. Think of a line drawn from Utopia, through Kansas, up across the Boston Guitar Mountains to the Glass Hammer lakes, there you will find a dam built by these eager beavers of Prog. All that music is held back and they tap it off into these epics.
There’s even a drum solo hidden in there and leads us on to an extended instrumental piece that ties all the different SB threads together. Guitars weave as the tempo increases, the keyboards are fighting for their place in the sun, the interplay between them and the drums is pure SB and all the more welcome for that. I can see this going down a storm live, with the big solo closing piece giving the lighting designer a chance to stun the watchers as the closing lyric wafts over the rapturous audience.
If you’ve never dabbled in the world of Spock’s Beard, then this compilation is a fine way to start. Chronological and logical, it gives a true flavour of the band. Personally, I’ would have included live tracks as that’s when the interplay between them as musicians really comes into play.
Also, I’d have chosen different tracks. I would have included Devil’s Got MyThroat from “Snow” which is as noisy and rocking as the title suggests. I’d feature more from “Day for Night” and “V”, but then they were the first SB CD’s I owed.
At the price this is floating around for, it’s a great summary of a great American Prog band.
They will never be out there on the edge, pushing the envelope of Prog, but if you want songs, actual tunes you can hum or even sing along to, then dip you toes in the Beard’s world. It’s a rather fine place to spend an evening or two with a glass of good wine.