When Spock’s Beard keysman Ryo Okumoto teamed up with I Am The Manic Whale’s Michael Whiteman for the former’s 2022 solo album, The Myth Of The Mostrophus, it ended up as my favourite album of the year. Three years later, the songwriting duo reunited for what would become the latest Spock’s Beard album, The Archaeoptimist. In all honesty, I was a little worried. Would this end up as a sequel to the solo endeavour, or would it have it’s own identity, or would it even sound like a Spock’s Beard album? With the arrival of the record, all fears have been put aside. Both Alan Morse and Ted Leonard contribute lyrically to the record, and with the force of the musical personalities in the band, the results are so strong that The Archaeoptimist ends up as one of the finest albums in the entire Spock’s Beard catalogue.
The a cappella vocal introduction to Invisible tells you right up front that this will be a take no prisoners approach to making music. Okumoto’s keys are mixed up front, but bassist Dave Meros and new drummer Nick Potters (you go, New Jersey boy!) carry a lot of weight and make it all seem effortless. Guitarist Alan Morse largely hides out in the background doing rhythm duty or replicating the keyboard riffs; when he finally solos, he proves once more why he is one of the most intriguing guitarists in all of prog. Potters follows in the footsteps of a couple pretty amazing drummers, but if he has any reservations at all, he manages to power through them to blend seamlessly with the rest of the band. Electric Monk manages to capture the spirit of Neal Morse era Spock’s without sound like a retread. There are moments bordering on pastoral to complex prog workouts, and the band feels on fire throughout. Leonard’s vocals are a commanding presence, sweetened by vocal contributions from Morse and Potters.
Afourthoughts (Thoughts Part 4) continues Neal Morse’s experiments in contrapuntal singing with aplomb. The middle vocal section is proof that this is a band with plenty of octane left in the tank. From the sublime to the outright bizarre, this one has it all. Okumoto’s jazzy acoustic piano solo is just one highlight among many. This is a reinvigorated band enjoying yet another peak in a long career.
Everyone is firing on all cylinders during St. Jerome In The Wilderness. The song details the story of Leonardo DaVinci’s unfinished fifteenth century painting which was at some point cut into five parts before being reassembled later in the nineteenth century. The painting’s provenance is fascinating and so, fittingly, is the music. A bass and piano breakdown is a nice change of pace, made all the more special by the dense instrumentation preceding and following. Morse knows how to put the rock in prog rock, and he does just that during his solo turn. Okumoto’s Hammond features prominently in nearly every song, but here he ups the ante with his keyboard acrobatics.
The epic twenty-one minute title track of The Archaeoptimist begins with the motoric sound of a revving guitar, signalling the expansive journey that you’re about to undertake. With lyrics from vocalist Leonard, the story is a tale of a post-apocalyptic world and the competing visions of a father and daughter about how to navigate through it. Each of the six sections has its own character, yet all of them hold together beautifully as a single piece. Every member of the band has an opportunity to explore his prodigious talents, but each of their solo turns is concise and memorable, so the song never feels noodley or unhinged. Leonard’s story is easy to follow (unlike so many epic prog storylines) and sung with empathy for the two characters. The Archaeoptimist can stand proudly with any similar track from Neal Morse’s time in the band.
The album closes with another mini epic, the eleven minute Next Step. Acoustic piano introduces a decidedly Genesis-sounding tune, from guitar tones reminiscent of Steve Hackett to mellotron flutes, from 12 string acoustic sections to rollicking symphonic prog romps. While the interlude is Trespass-era Genesis, Leonard’s vocals plant the song firmly in the present time and in Spock’s Beard territory. Full of vintage sounds enhanced by an unfussy arrangement (Okumoto’s production is fantastic throughout, abetted by Rich Mouser’s mix and mastering), the song breaths and revels in the spaces, making it feel much shorter. It is a masterclass in updating the past to fit into the future.
With the departure of Neal Morse (and even Nick D’Virgilio), Spock’s Beard has continued to prove itself worthy. This is a band not afraid to do what it takes to keep moving forward. Not every step has been sure-footed, but the band has always remained true to itself. With The Archaeoptimist, that vision has been fully realized. Is it too late to declare this one of the best albums of 2025?
TRACK LISTING
01. Invisible (6:33)
02. Electric Monk (6:16)
03. Afourthoughts (7:31)
04. St. Jerome In The Wilderness (8:46)
05. The Archaeoptimist (20:57)
06. Next Step (10:58)
Total Time – 61:01
MUSICIANS
Ted Leonard – Lead Vocals, Guitar
Alan Morse – Guitar, Vocals
Ryo Okumoto – Keyboards
Dave Meros – Bass
Nick Potters – Drums, Vocals
~ With:
Michael Whiteman – Acoustic Guitar
ADDITIONAL INFO
Record Label: Madfish
Country of Origin: US
Date of Release: 21st November 2025
LINKS
Spock’s Beard – Website | Facebook | Bandcamp | YouTube | X | Instagram
