by Prog Nick
Part of me is a little incredulous that I find myself writing this review. Since the inception of Spock’s Beard in 1992, there have been several worrying moments of ‘that’s all she wrote – the Beard is over’. From the departure of Neal Morse to the loss of the mighty Nick D’ Virgilio, to the split with John Boegehold and the formation of Pattern-Seeking Animals, there have been a few too many circumstances warranting concern that the writing might be on the wall. The latest examples were the vacation of the drum throne by both Jimmy Keegan and Mike Thorne and a recording hiatus of seven years in which there was largely silence from the band. Members were busy with other excellent projects, there was little activity on social media, and fans were consequently concerned that this might be the end.
But we were wrong. Like a bolt of lightning out of the blue, in late September 2025, Spock’s Beard dropped an impressive new song and announced the forthcoming release of their fourteenth studio album ‘The Archaeoptimist’. Many fans were stunned by this revelation because the writing and recording process had been kept remarkably quiet, other than one very understated social media post in 2024. By September of 2025, the year in general had already been shaping up to be one of the best in modern Prog, but the Spock’s Beard news made it into a jubilee year. Because everyone’s favorite melodic Prog band was back.
Questions abounded: Will it be good enough? Can past glories be rekindled after all this time? Will the band’s legendary sound have been revived or even retained? Are the members still inspired enough to keep the legacy going? Who are the songwriters? What about that empty drum throne?
Well, there is an indefinable chemistry that results when core stalwarts Ryo Okumoto, Alan Morse, Dave Meros and Ted Leonard (who has by now more than earned his stripes) get together. Each one of these fine musicians has his own clearly determinable – even unique – sound. But when they gather under the Spock’s Beard banner, something extra – something magically ‘more’ – emerges. As Spock’s Beard they are greater than the sum of their already mighty parts.
But which drummer could match these lofty standards? After all, filling the shoes of Nick D’Virgilio is a daunting prospect, and while Jimmy Keegan and touring drummer Mike Thorne both did admirable jobs, drummers of that standard – especially ones who sing – are a rare commodity indeed.
Enter Nick Potters, a Los Angeles-based drummer, producer and multi-instrumentalist from the bands Calaspera and The Fuzz. Apart from his appearances with Okumoto’s solo band in 2024, I had not heard of Potters until his ‘Cat’s Out of the Bag’ Facebook post of September 2025, in which he announced that he had joined Spock’s Beard. In that post, he stated: ‘Drummers aren’t usually asked to play MORE notes, so getting the chance to add my own sound and really stretch out on a record (with a band I’ve been listening to since high school) feels like a full-circle moment’. And stretch out Potters most certainly does. He can really play, and his percussive stamp is all over the album, confirming that he is more than worthy of this august drum throne. It is indeed a full circle moment for him, because Nick Potters is absolutely the right drummer for the 2025 iteration of Spock’s Beard.
As for the songwriting, Okumoto and the band recruited the services of co-composer Michael Whiteman, a highly accomplished writer with whom Okumoto has worked before. The album was recorded at several studios, mixed and mastered by the legend that is Rich Mouser and produced by Okumoto (clearly the project’s leader). With all these boxes ticked, ‘The Archeoptimist’ presents a mouthwatering prospect indeed.
And it does not disappoint. The album presents a panoply of wonderful classic-sounding Prog and it seems to me that the songwriting very intentionally harkens back to the early Spock’s Beard that changed everything for so many of us. That, of course, is wonderful news. But just as wonderful is the unique melding of modern performance style and delivery that continue to make Spock’s Beard a one-of-a-kind band. Meros is dominant with his aggressive yet always tasteful bass, Morse is back to his mischievous, innovative and oh-so recognizable self, Leonard is right at home with the complex vocal parts (and some guitar), Okumoto’s keyboards are ablaze and Potter’s exceptional drumming fits its new home like a hand in a glove. Mouser, of course, brings it all home with his ever-present, masterful touch.
Opener and single ‘Invisible’ features Alan Morse lyrics about a man that is too readily ignored. The song makes an emphatic musical statement, heralding the band’s return with a perfect a capella vocal harmony intro. This can only be Spock’s Beard, and the intro immediately leads into the symphonic pageantry for which The Mighty Beard became famous. The song is a dizzying arrangement with a variety of textures and time signatures, and it leaves the listener with absolutely no doubt that classic Beard is back.
‘Electric Monk’ continues the classic feel in a tightly controlled arrangement that ebbs and flows like a moon-drenched tide. Leonard’s perfect vocals are carried skywards by a dense harmonic interplay between Morse’s guitars and Okumoto’s keyboards, and all is very well in the world of Prog.
One of the album’s highlights is ‘Afourthoughts’. This is the fourth installment of the ‘Thoughts’ series initiated by Neal Morse in 1996. ‘Afourthoughts’ harkens back to its predecessors obviously enough to be very deserving of the name reference, but it also introduces a new musical progression to the theme. This is Spock’s Beard innovating while eminently respecting their past. The Gentle Giant vocal interlude is as good as any in the band’s august history, and any notion that this return to classic Beard might be some sort of flash in the pan, is now utterly dispelled.
‘St Jerome in the Wilderness’ is also a re-visitation of the past – this time, it seems to me, of ‘Flow’ from ‘The Kindness of Strangers’. After the clear keyboard reference to that wonderful song, a mini-epic of its own style and proportions unfolds, as good as any from prior iterations of the band. It is as intricate as calculus and will be great when performed live. I am hoping for a medley of sorts.
The title track and 20-minute epic tells the story of a young girl and her father traversing life in a post-apocalyptic world. Leonard is in full majestic stride here, and, as always, Morse’s innovative guitar tones provide the unique quirkiness that is essential to Spock’s Beard. The song is symphonic and elaborate, featuring hints of Toto (in their Proggier days) and Kansas. While the arrangement accompanying the tale might sound a little pompous in places, this is the type of imperiousness that only the Beard can pull off without risk. Any hint of excess is more than counteracted by the track’s direct transitions and outright groove. In the middle, it breaks down into two passages of funk built around Meros’ granite-like bass. The first is an excellent verse from Leonard sung from the father’s perspective. It will have you bobbing your head as it gives way to a typically unique Morse guitar solo. The second is even better, and again features a mighty bass-driven counterpoint to Leonard’s vocals. It is a fabulous passage, and it once again reminds me how much I love Dave Meros’ playing. He really is one of the best in the business and his performance is made all the more pleasing by the ease with which Potters keeps up with him. The rhythm section locks in as if the drummer has been in this band all his life, and his fills make it clear that all his childhood listening has more than paid off.
Another exceptional mini-epic is revealed in last track ‘Next Step’ – possibly my favorite track. It starts off with a delightful Bach-type piano fugue that leads to a sublime guitar/keyboard harmony from Morse and Okumoto. This is the Beard at their triumphant best, with all the varied moments of wonder and resolution that seem to come so naturally to them. There are once again several nods to the past, but also some new melodies that show just how relevant classic Spock’s Beard motifs can be when placed in a modern context. Okumoto’s synth work, influenced here by Tony Banks, is outstanding, and Morse’s guitar solo is simply jubilant. The Genesis-like climax of the song is the most fitting way for this album to end, reminding us of all that we have loved about Spock’s Beard for all these years. Play this one to the uninitiated.
Just as there have been many stages in the evolution of Spock’s Beard, the band has now come full circle to its roots circa ‘Kindness’ and ‘Beware of Darkness’. The members, all virtuosos, may offer highly impressive individual talents and techniques, but they have seen to it that these are delivered in such a way that the unique legacy of this group remains joyously alive.
The members of the band, Whiteman, Mouser and, of course, Okumoto as producer, should all be very proud. There are enough exquisite moments on this album to ensure that no one will question whether it is the real deal. Despite Okumoto’s leadership, this is not a solo album in disguise – it is the concrete expression of a cherished band of veterans making a return to their roots. Traversing the entire myriad of styles that you would require from Spock’s, the album engages the listener on many levels. It is powerful yet fragile and suspenseful yet driven, and the production, of course, is beyond pristine.
With a progressive temperament that spans rock, jazz, a capella, triumphant harmonized guitar, writhing synths, massive arrangements, strange tales and soaring musical fantasies, this album pretty much has everything that the Spock’s Beard faithful could expect – no matter which their favorite era. ‘The Archeoptimist’ presents the Lazarus-like return of one of the greatest acts in Prog. Welcome Back, Spock’s Beard – you were missed.
Released on Nov. 21st, 2025 on Madfish
Tracklisting:
Invisible [06:33]
Electric Monk [06:16]
Afourthoughts [07:31]
St. Jerome In The Wilderness [08:46]
The Archaeoptimist [20:57]
Next Step Spock`s Beard [10:58]
Spock’s Beard Are:
Alan Morse – guitars, vocals
Dave Meros – bass, keyboards, vocals
Ryo Okumoto – keyboards, vocals
Ted Leonard – lead vocals, guitars, keyboards
Nick Potters – drums
