CD Review: Spock's Beard - Feel Euphoria

Feel Euphoria is the seventh album by San Francisco-based prog-rockers Spock's Beard, and the first without the former bandleader, vocalist, and songwriter Neil Morse. Over the past few years they've built up a reputation as one of the best bands in their genre, fusing influences from 70s English progressive bands like Yes and Gentle Giant with some more streamlined American sounds. Their often lengthy songs frequently climaxed with a massive wall of sound, featuring not one, but sometimes two of that magnificent prog-rock instrument, the mighty mellotron.

Many people, myself included, felt it would be hard for them carry on following the Neil's departure, to "follow a spiritual path", much like Geoff Mann of Twelfth Night a generation before.

But anyone that wrote off the band has been proved wrong. "Feel Euphoria", which sees drummer Nick D'Virgilio takes over lead vocal duties (Just like that other, much bigger prog-rock band you all know of) proves the Beard are far from finished.

All four band members, drummer and now singer D'Virgilio, guitarist Alan Morse (brother of Neil), bassist Dave Meros and keyboardist Ryo Okumoto contribute to the songwriting, and they've also brought in a couple of songwriting collaborators in the shape of Stan Ausmus and John Beogehold. They've pushed the boundaries a little rather than attempt a simple pastiche of Neil Morse's writing style, which probably wouldn't have worked, but there are enough elements of their old sound to keep existing fans on board. The music still sounds very much like Spock's beard. The musicianship is good as ever, some of Dave Meros' basslines are amazing. However, unlike too many of their neo-prog brethren, they keep things focussed and don't go widdling off into endless noodling jams.

The opening hard rocker, "Onomatopoeia" might make you think they've gone metal, while the title track, with its dub bassline, reminds me of Marillion's "Quartz" until it breaks out into an ELP-like keyboard extravaganza. The lengthy "A Guy Names Sid" comes over as an amalgam of the best bits of the Beard's sound from past albums, from the epic guitar climaxes to the multi-part vocal harmonies, including an a cappella section. The real highlight of the album is the haunting "Ghosts of Autumn", whose haunting melody is in danger of giving power-ballads a good name.

f you're already a Spock's Beard fan, you've probably got this album already, of course. If you're not already a fan, go out and get it, then buy the previous six!