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 sometimes lengthy songs often 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.
Overall, if you've got any liking for prog-rock at all, this album is a must-buy. The Beard are still very much one of the best bands in the genre.
Article comments
1 - Jon Luker
Thanks for the review. You might want to correct your mispelling of Neal Morse's first name though. :-)
I miss Neal's influence, but I have to say I agree that this is fine work by a great group of musicians.
2 - Daniel Bosch
I must admit, as much as I wanted the band to succeed without Neal, I was worried that they may not be able to pull it off. My fears were not exactly relieved after hearing the first track, "Onomatopaea", but after this abrasive start the album really pleases. Yes, it's different (it HAD to be), but it's damn good, all the members contribute well. I believe the Beard will go from strength to strength from here - a very promising debut for the new lineup.
3 - Ed Lohrer
Thanks for the informative review.
I graduated H.S. quite awhile ago, Rush 2112 was released the year I graduated, and Progressive Rock has always been my music of choice since the mid 70's (Genesis, Yes, Rush, King Crimson, etc.). In the 80's, when Genesis became too "poppie" and Yes screwed around with their line-up, I basically gave up on "Prog Rock"(as they call it now) and have been searching for a replacement sound ever since. It has been in the past two years, thanks to the internet, I found that the sound that I grew up with didn't die thanks to bands like Spock's Beard and The Flower Kings. The "suck ass" record stores and radio stations that we have in Pittsburgh never promote or rarely carry this genre. So, thanks to you and all the other reviewers on this site for helping me to rediscover the "sounds of my youth", sometimes a little harder edged but never disappointing.