Spock's Beard: X

Symphonic progressive rock act Spock's Beard has caused a lot of debate and polarization amongst their fans for most of the last decade. When founder and leader Neal Morse left in 2002, fans immediately rejected the new version led by drummer/singer Nick D'Virgilio. The similarities to Genesis are palpable, but whereas they eventually toned down out their complexity to sell records, Spock's Beard never have. Their last few albums maintained most of what made Spock's Beard so fantastic before: The musicianship was still incredible, the ambition was high and the melodies were engaging. Their newest LP, X, easily earns its place alongside them.

The band formed in California roughly twenty years ago when brothers Neal and Alan Morse met drummer Nick D'Virgilio. Combining their own sense of eccentricities with influences that span the entire first generation of progressive rock, Spock's Beard released six albums with Neal before he left in 2002 to pursue his own religious solo work. Feeling confident in their ability and loyalty to their fans, the band decided to continue with a new leader, and have been very successful artistically. Also, just as he has on their previous three albums, composer and songwriter John Boegehold serves as an important collaborator on X, which, just like its nine predecessors, delivers top notch progressive rock with charm, skill and catchiness.

Although X only has eight tracks, it's still almost 80 minutes in duration, and none of it is wasted. "Edge of the In-Between" opens the album with a symphony of synths and it constantly shifts between poppy melodies and complex breaks. The track has a tingle of inspirational warmth that's both intangible and inviting, and it's a great choice to start the album. "The Emperor's Clothes" is a silly track that tells the familiar story of a scam artist who fools Philistines with poorly made clothing. The melody and accompanying horns make it playful and enjoyable, and Spock's Beard once again invoke the vocal layering technique popularized by Gentle Giant (it's become their beloved trademark).

"Kamikaze" is an instrumental full of intricacy and alternating levels of intensity. Its riffs and choir samples recall similar aspects of their classic piece "The Great Nothing" from V, and D'Virgilio proves once again that he's a great drummer first and foremost. It's a superb track that's just as good as material from their vintage days. "From The Darkness" is the first true epic on X and it's broken into multiple parts. Its pattern allows heavy rocking segments and softer instrumental segues to blend effortlessly, and there is some very affective piano work that will stay with you.

Another beautiful piano melody and fitting performance by D'Virgilio interrupts the straightforward momentum of "The Quiet House" halfway through the track. It's one of the most wonderful moments on X. It's reminiscent of the emotional saga the band opened 2006's Octane with. "Their Name Escapes Me" runs with a gimmick that actually works. Fans entered a contest to have their names mentioned on the album, and the band cleverly turned it into a very haunting and ominous song, which includes piano notes that tiptoe over ghostly chants and sorrowful cello. D'Virgilio sings about revealing the identities of traitors to an oracle (he hopes doing so will save his soul, I guess). He insists that he can't remember them (hence the title), but eventually he recites them in an interesting melody while the music swirls behind him. It's very inventive.

"The Man Behind the Curtain" interweaves moments of forceful rocking and acoustic modesty before combining into progressive rock glory for the remaining minutes. Spock's Beard shows a great handle of dynamics with it. The second epic piece, "Jaws of Heaven," closes the album magnificently. D'Virgilio begins with a story of a lonely traveler longing for the past and filled with regret before a mournful instrumental bit begins. Once again it's lead by an encompassing piano melody and other heart wrenching timbres, providing another one of the best moments on X. The traveler then tells of entering a quiet town and preparing to enter the Jaws of Heaven while continuing that same piano melody with different instruments. Spock's Beard expertly craft anticipation for the third section when the bombastic sound is dissolved into almost nothing before it slowly builds again into a world of regret and learning. Bringing the piece full circle, the music once again reprises the main melody as it closes with more incredible playing. Progressive rock epics are known for stitching in the same musical idea throughout in order to preserve a sense of grand continuity and this track does it masterfully.

Spock's Beard unquestionably lost something special when Neal Morse left, and to be honest, they aren't as good anymore. Neal brought a more experimental, adventurous and original perspective, and without him, Spock's Beard have become more commercial and straightforward; they play things safe. But even so, they still craft some of the best progressive rock and pop songwriting around, and X is a perfect example of that. It's certainly no V or Snow (to which few albums can compare), but it's still very good on its own merit. Fans should stop dismissing them for what they don't sound like anymore and embrace what they are still able to do.

Track Listing
1. Edge of the In-Between (10:30)
2. The Emperor's Clothes (5:52)
3. Kamikaze (3:50)
4. From the Darkness (16:36)
5. The Quiet House (9:03)
6. Their Names Escape Me (8:57)
7. The Man Behind the Curtain (7:46)
8. Jaws of Heaven (16:22)

Added: December 27th 2010
Reviewer: Jordan Blum
Score:
Related Link: Band Website
Hits: 4615
Language: english

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