SPOCK’S BEARD – The Archaeoptimist (Album Review)

Presumed nearly dead – or maybe just transformed into Godzilla monsters and other pattern-seeking animals – the infamous Spock’s Beard have been gloriously resurrected once again. A band with more lives than Genesis, and nearly as many drummers as Spinal Tap, their legacy continues as one of the most lauded prog bands of the modern era. Indeed, their 90s foundation, helmed by Neal Morse, helped to breathe life into the disappearing form of prog rock, which has since gone on to expand and flourish in surprising ways. 

So, who exactly is donning the Beard this time around on this, their first new release since 2018’s fine album Noise Floor? It’s essentially still The Beard 3.0, consisting of Ted Leonard at the mic & guitar, Alan Morse on guitars, Dave Meros on bass, and Ryo Okumoto on keys. Still, perhaps we should call it The Beard 3.3 since this specific quartet has been through a few drummers since they began, now landing on Nick Potters on drums and vocals.

Let’s just make it clear from the get-go that Potters is an excellent discovery and perfect fit for the band. His drumming is top-notch throughout the album, fueling the band with additional energy. And let’s face it, how many drummers also fit the bill to deliver excellent tenor backing vocals, which has become a Beard staple? So, Potter’s inclusion is a major win. 

Fortunately, it’s not only Potters who bring the fire to the band. From the first single and lead-off track “Invisible”, it’s clear the Beard are back and sound like they haven’t missed a beat. The entire album carries the vibe of a lean, mean version of the band that is getting down to the business of *sounding* like Spock’s Beard should sound. While that might appear to be an obvious observation, there’s an immediacy to The Archaeoptimist that’s been missing from the past couple of albums, bringing the Beard back in your face and doing what they do best. 

An interesting twist is that this project started as a follow-up to the previous Okumoto solo album, The Myth of Mostrophus, which itself was almost a lost Spock’s album, given the number of appearances from Beard alumni. For that album, Okumoto had teamed up with I Am The Manic Whale’s Michael Whiteman to cover the songwriting. It was a fun album with tons of special guests, and after its success, the two got busy writing a follow-up. However, after Spock’s played a short run of live dates in Europe, inspiration began to set in, and it was proposed that the new Okumoto/Whiteman songs might be offered to the Beard for a new album. Which is what essentially happened. 

Morse and Leonard reworked the lyrics on several songs, but the music itself is all penned by Okumoto and Whiteman, which in itself is a new departure for the band. Although Okumoto had written some material on previous albums, he was by far not the prime mover as far as songwriting goes. But now his fingerprints are all over this new release, becoming in essence the clear driver of the band, if not the de facto leader. Not bad considering he wasn’t on the Beard’s debut album, The Light. From classically-influenced piano runs to jazz chords to his signature screeching keyboard solos, Okumoto is confidently propelling the band forward into the future. It’s long been said that “Ryo IS Rock ’n Roll,” but now he’s Spock’s beating heart as well. 

Happily, the other members help in Spockify-ing Whiteman’s writing, and musically they have no problem in matching Okumoto’s energy and Potters’ attack. Bassist Meros gets a full workout on “Electric Monk”, defining what Spock’s bass playing is all about in this one track alone. Morse’s incendiary guitar tone is back in all of its delicious glory, just check out his raucous solo on “St. Jerome In The Wilderness” – clearly one of the best songs on the album – which is then followed by Okumoto’s Hammond madness, while Potters goes to town. The three of them hold court in the middle of the song for about three unbridled minutes until Leonard brings them back with a fantastic chorus, one of Whiteman’s best in this collection. Speaking of Leonard, his vocals never fail, bringing emotion, unending power, and that Kansas vibe to the proceedings.

Another highlight of the album is the closing “Next Step,” which begins with Okumoto lending a classical flair on the piano, sounding somewhere between Tony Banks and Keith Emerson. With Leonard’s vocals having room to stretch out a bit more and really shine, this mini epic turns into Spock’s triumph, exploring exciting terrain while sounding familiar and yet fresh at the same time. Okumoto and Whiteman found the perfect equation in this one, and the Beard members excel in making it their own. 

The Spock’s tradition of recurring Thoughts stays alive with “Afourthoughts”, complete with synth flashbacks to the original, Gentle Giant vocal breakdowns, and inspired new directions. Obviously, Potters’ vocal contributions are most welcome in moments like these. And yes, there is a lengthy epic on here as well, the title track, which goes longer than the Beard have gone in ages. It roars off to a mighty start and a fun apocalyptic storyline (yes, those two adjectives work together here) courtesy of Leonard. Each of the sections works on its own, tied together by Meros’ relentless bass playing. Still, I find my attention wandering when I take in the whole piece together as one. The final climactic theme – punctuated by Potters’ expressive drumming – perhaps would have been more effective if it had come sooner. 

Once again, Rich Mouser is at the mixing console, ensuring that the sonic performance shines. The good news is that the band’s energy seems revived, and perhaps they won’t wait so long for a follow-up, and will get more involved collectively with the writing next time around. Still, the band as a whole has managed to turn Okumoto’s and Whiteman’s source material into their most Spocky-sounding album in ages, which is welcome news for any Beard fan. Welcome back, my friends, to the show that apparently still never ends. 

Release Date: November 21st, 2025
Record Label: Madfish
Genre: Progressive Rock

Musicians:

• Ted Leonard / Lead vocals, guitars, keyboards
• Ryo Okumoto / Keyboards, vocals
• Alan Morse / Guitars, vocals
• Dave Meros / Bass, keyboards, vocals
• Nick Potter / Drums, vocals

The Archaeoptimist Track-list:

1. Invisible
2. Electric Monk
3. Afourthoughts
4. St. Jerome In The Wilderness
5. The Archaeoptimist
6. Next Step

Order the album here.