Brief Noctures and Dreamless Sleep - Spock's Beard

Brief Nocturnes and Dreamless Sleep (Spock's Beard, 2013)

1. Hiding Out - 7:15
2. I Know Your Secret - 7:42
3. A Treasure Abandoned - 8:57
4. Submerged - 5:00
5. Afterthoughts - 6:09
6. Something Very Strange - 8:23
7. Waiting For Me - 12:36

Though they've sustained another major loss with the departure of drummer and lead vocalist Nick D'Virgilio, the Beard remain intact, successfully integrating new lead singer Ted Leonard (formerly of Enchant) and drummer Jimmy Keegan to deliver one of their best albums, ever. And I thought X was a return to form... Holy cats.

Throughout this album, Spock's Beard combines stately themes, high-energy rock, complex instrumental interplay, and quirky fun in the best of their tradition. Ted Leonard retains the pop sensibility and passion he contributed to his former band, and Jimmy Keegan drums in, out, over, and around the tunes while still anchoring the proceedings admirably. Alan Morse's guitar work is simply revelatory - every solo, fill, lead line, and backing part is impressively executed, wildly creative, and uniquely suited to the composition. Ryo Okumoto, meanwhile, remains one of the premier practitioners of Hammond B3, Moog, and Mellotron operating today. He plays with a joy and exuberance that bursts through the speakers.

And what can I say about Dave Meros?  I have a serious bass crush on him. His bass lines are melodic, contrapuntal, muscular, inventive, and perfectly fitted to each song, adding a complementary lead voice and a chordal basis simultaneously.  I wish I had a tenth of his compositional ability.

How about the songs?  The opening three are instant classics, with the perfect balance between impassioned vocals, driving rock, and progressive structure. Whether it's the high-energy Alan Morse solo leading to a big harmony vocal note in "Hiding Out", the crunchy guitar with beautiful Mellotron/vocal interlude of "I Know Your Secret", or the perfect combination of Peter Gabriel-era Genesis and early Kansas in the epic "A Treasure Abandoned", the Beard are firing on all cylinders. "Submerged" is the token prog-pop song, and it's the only weak spot for me. The octave-jumping "melody" of the pre-chorus is weird enough to defuse the effect of the anthemic chorus.

Any weakness is forgotten in the second half, however. Alan Morse takes the lead vocal on "Afterthoughts", another song in the "Thoughts" series (complete with madrigal singing!) which epitomizes everything that is fantastic about this band. A playful melody mixed with oddball humor, it examines the feisty ruminations of a mental patient. "Something Very Strange" starts with mysterious wisps of keyboard and organ, clearing to reveal a Vocoder monologue punctuated by epic chords. The intro gives way to an arpeggiated duet a la Gentle Giant between keyboard and bass. As the song develops and morphs, the bass keeps the arpeggio churning along underneath, flowing and swelling with the musical tide. I don't know how Meros' fingers don't cramp - he sure makes it sound effortless. The final song "Waiting For Me" is quintessential: an ennobling theme, an irrepressibly happy verse/chorus structure, an emotional bridge with pensive vocals and emotive guitar/keyboard, and a grand finale par excellence, with an electric guitar duet between Alan Morse and guest musician/former Beardie/brother Neal. How sweet it is!

Arbitrary rating: 4.5 out of 5 serious bass crushes