Spock's Beard
The Oblivion Particle

Contrary to popular belief, Spock's Beard can also be a bold band that shows they know how to move forward and reinvent themselves while staying anchored to a certain style. They demonstrated this after Neal Morse's departure (with albums like "Feel Euphoria," "Octane," and "Spock's Beard"), and they continue to demonstrate it now with this twelfth studio work, the second with singer Ted Leonard and drummer Jimmy Keegan.

Bassist Dave Meros had announced that the album would present a band quite different from what we were used to hearing; let’s say that, for the most part, our curiosity found a concrete answer. The album indeed maintains a strong connection with the classic and 70s prog but at the same time sounds very modern, once again giving the audience a demonstration of how prog is a genre very much alive. Articulated passages of Hammond organs, Mellotron, vintage-flavored synths, and acoustic breaks are abundantly present as always, but they are accompanied by rough and edgy guitar sounds (without, however, venturing into full hard prog), heavy and sharp bass, and keyboards with a fresh, bright, and current sound.

Already when the opening track "Tides of Time" was previewed and when Meros described it as "quite classic," enthusiasm rose; alongside the organ passages and the beautiful acoustic part, you’ll find vibrant keyboard flashes that certainly don't sound like anything heard before; <> I thought. And indeed, here we find quite a few surprises that one certainly wouldn't expect from Spock's Beard. One above all, the peculiar folk approach of "Bennett Built a Time Machine," characterized, besides modern keyboard loops, by the rather unusual use of the mandolin. Absolutely unusual is "The Center Line": its notable piano intro and outro cannot help but remind one of "Firth of Fifth" by Genesis, as well as the immediately following part similar to some things done by the Flower Kings or even its instrumental part that increases in speed and intensity… but its uniqueness lies in the almost country and western feel that characterizes the verses and chorus; forays that immediately reminded me of "Knights of Cydonia" by Muse. Also remarkable is the introductory part of "A Better Way To Fly," first characterized by a dark piano and an almost dark atmosphere and later by unusual electronic passages before the song finds its definitive twist, characterized by an urgent rhythm supported by an intense bass. The less articulated and more immediate "Get Out While You Can" is quite underrated, which, while seemingly bland and with little to offer, actually has peculiar introductory sounds and that particular almost "ambient" atmosphere in the verses as if to contrast with the decidedly more lively chorus. And one cannot fail to mention the dynamic "Disappear," essentially for the presence of the violin played by David Ragsdale of Kansas, with plucking audible in the slow part, lively slashes in the more upbeat section, and more melodic and markedly symphonic touches in the pompous final part.

The remaining tracks, however, are certainly not lesser and are equally worthy of consideration; in "Minion" the powerful guitar-synth stabs that sporadically characterize the song are worth mentioning; "Hell's Not Enough" impresses with that incredibly catchy chorus (in contrast to the delicate acoustic verses) but that autoharp that intervenes makes it more inviting; "To Be Free Again" is rather classic and devoid of surprises, in my opinion the most anonymous, never particularly intense and never truly takes off, yet it’s still listenable.

In conclusion, a fresh and inspired album, which will most likely end up in my personal top 10 of 2015. The cool thing... is that I had the chance to mention these feelings to one of the protagonists of it all... none other than... the band’s keyboardist, Ryo Okumoto!!! Yes, exactly, I had just arrived at the Legend Club to attend their recent Milanese date on September 23, I was a bit late for a meeting with the other members (who were just entering the dressing rooms) but in time for a chat with the Japanese keyboardist to whom I revealed being their fan since 2008 and appreciated this new work because it's full of new ideas. Moments that change your life.

In any case, let’s hope this is just the beginning of a new creative phase for the band.