Madfish [Release date 21.11.25]

Album reviewers, including this one, are often guilty of mining the cliché vaults and using five words where one would suffice. But then, every so often, something so good comes along that it defies words.

‘The Archaeoptimist’ is one of those records, an utterly brilliant slice of modern Progressive Rock, that might, just might, be the best Prog release of the year. That’s all that needs saying, really, but for those that need a further nudge, read on!

‘The Archaeoptimist’ may be the fourteenth studio release from respected Prog Rockers, Spock’s Beard in a busy, 30 year, career but, it’s arrival caught many in the business by surprise. Seven years having passed since 2018s ‘Noise Floor’ a fair few folk, myself included, feared that as a collective they had chosen to quietly slip away into Prog history but, how wrong we were!

There have been a couple of significant changes since that last release. Firstly the ever busy Nick D’Virgilio vacates the drum stool once again and is replaced by the relatively unknown, to me at least, Nick Potters. Secondly, the Beard have moved house so this is their first release on the Madfish label.

It’s clear from the get go that keyboard maestro, Ryo Okumoto is the dominant player here both musically and thematically. Interestingly the six tracks are credited to Okumoto and Michael Whiteman (main man in I Am The Manic Whale, a British Prog project well worth checking out). Lyric writing is shared between Whiteman, Alan Morse and Ted Leonard. The expansive production, courtesy of Okumoto and Rich Mouser’s perfect mix are the icing on a delicious cake of progressive excellence.

Album opener, ‘Invisible’ begins with a glorious acapella harmony vocal around Alan Morse’s lyrics, ‘Hello out there can you see me?’ The answer to that is an emphatic yes and we are left in no doubt that Spock’s Beard are well and truly back, the trade mark interplay between keyboards and guitar well to the fore.

‘Electric Monk’ a lyrical collaboration between Morse and Whiteman showcases Ted Leonards soaring vocals over a typically busy, but perfectly balanced, arrangement.

‘Afourthoughts’ is credited in the sleeve notes as part 4 of the ‘Thoughts’ series of songs that began back in the Neal Morse days of the 1990s. It’s suitably bonkers intro (Prog at its proggiest?) acoustic interludes and more wonderful vocal harmonies, some of which give a nod to 70s stalwarts Yes and Gentle Giant and distinctly jazzy organ/piano parts make this a contender for my favourite track.

‘St. Jerome in the Wilderness’ features another slightly mad intro in a decidedly proggy time signature. Musically it gives reverent nods to both classic Genesis and the modern sound of the likes of Big Big Train yet, it is distinctly the Beard with the guitars perhaps more pronounced in the mix this time and new boy Potters proving, as he does throughout, what an excellent drummer he is. One can imagine D’Virgilio nodding his head in agreement at the decision to draft in Potters to replace him.

The 20 minute epic and title track, ‘The Archaeoptimist’ is a seven part post apocalyptic tale following a group of survivors, in particular a father and daughter, the latter born after the cataclysm who is desperate to learn of the old world. Ted Leonard’s careful constructed narrative, the at times symphonic music and some of Alan Morse’s best guitar work on the album come together to gift us a true masterpiece.

The album closes with another mini epic, ‘Next Step’, its Baroque piano introduction morphing into something altogether different and a rock prog duet between Morse and Okumoto. More signature harmonies and acoustic interludes follow before the song and the album closes out with a massive crescendo, leaving us with no choice but…to listen to the whole album again.

Exceptional, tremendous, fun, bonkers, take your pick but what is certain is that it’s Prog Rock for the masses and it will give anything else coming out in the next 12 months a real run for their money. Spock’s Beard are back, hallelujah! ****½

Review by Neil Pudney

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