Spock’s Beard’s new LP, The Archaeoptimist, is proof that they’ve still got the spark and maybe a few tricks left up their sleeves. Ted Leonard talks about the album in a way that while shows that despite honouring their past, this is no retread. With Ryo Okumoto steering the creative ship and a fresh chemistry among the group, The Archaeoptimist sounds confident, highlighting how they still find new ways to surprise themselves.
Ryo Okumoto led the direction for the album whilst it also being a collaborative effort. Can you talk me through how those initial ideas reached you and how the group took them forward?
Ryo and Michael Whiteman were working on Ryo’s 2nd solo album when it was decided to rework the ideas with Spock’s in mind so by the time the rest of the band heard the material it was pretty well formed. That said, we all had a loose leash (really no leash at all) for inserting our own flavor to our individual parts.
Collaboration with outside writers, like Michael Whiteman on this album, can bring fresh angles. What did Michael’s involvement introduce to the band that you might not have discovered internally?
I think Michael brings a quirky sense of humor to some of the lyrics and that may have spilled over into some of the arrangements. Most of the musical sections are distinctly Ryo’s handiwork but there are moments or transitions that sound less familiar. I imagine that is Michael’s stamp.
The title track contains a vivid post-cataclysmic narrative about a girl raised to become a leader. How did you approach the vocal storytelling on that piece, and did you feel a responsibility to inhabit a character rather than simply sing the lyrics?
I always try to present the intended emotion when I sing but I’m not too keen on trying to sound like a 6 year old girl (haha). While recording, I try to ingest and understand the lyric and take a couple passes with that subtext in mind. In this case, I wrote the lyrics so there was no interpretation necessary but it was a broad spectrum of emotion to portray from beginning to end.
When you listen back to the record, which parts do you feel point most clearly to the band’s past, and which elements make you feel you are moving into new territory?
There are some pretty blatant and intentional nods to the past. Mostly in the intros of various songs. St. Jerome in the Wilderness comes out of the gates referring to Cakewalk on Easy Street; Electric Monk could be construed as referring to Go the Way You Go… etc. Once the songs get going, though, there is a Fusion element to Ryo’s writing that has always come across live (particularly in moments of improvisation) but didn’t show up on recordings very often. I like that direction. I think it opens up melodic possibilities that I wouldn’t have considered otherwise.
The group has always had a love of long-form composition and suites, and yet this album includes material that is more melodic and compact in places. How do you decide whether an idea should be stretched into an epic or condensed into a hook?
As a writer, I, personally, have not been responsible for too many ‘long’ songs. However, I think I can speak for the collective in saying that there really is no limit if there’s more of the story to tell. I don’t think any of us are fans of just making it long for duration’s sake.
Recording at each member’s home studio is now a common way to make records. What did working that way allow you to do that a traditional studio session might not have, and were there creative sacrifices as well as advantages?
If there are any sacrifices, it would be the unknown element of 3rd party perspective. Sometimes a good producer or outside listener can compel you to try something you wouldn’t normally conceive of by yourself. The advantage is that you are not subject to the fallacy of group decision making. If you’ve ever stood in a circle with 10 people trying to figure out where to go for dinner, you can imagine what that’s like in the studio. As a singer, that discussion is often out of ear shot. You’re just looking through the window at a bunch of people shaking their heads in disapproval. Eventually the engineer says “let’s try that again” and you’re thinking “Ya! At home, I would have done 10 more passes and edited it down by now!”
Spock’s Beard has thrived despite personnel upheavals, including Neal Morse’s departure. What has been the single most important attitude or practice that has allowed the band to retain its identity while evolving?
I think the identity of this band is easily retained due to the distinctive sound of the players. Al, Ryo, and Dave are all unmistakable to those familiar with their sound. I can’t say that it’s been intentional but those tones constantly hearken back to the band’s history.
You joined as frontman after the band was already established. Did you ever feel pressure to preserve a particular sound, and if so, how do you reconcile that with the need to keep pushing musically?
I never felt pressure but I do have a natural instinct to go after the details that made a part great. I think it comes from being in cover bands for so long. I don’t try to contort my voice to sound like Neal or Nick, but I do try to match the inflection of the original singer which includes trills and how they get in and out of a note.
Spock’s Beard’s live shows have been lauded over the years. How do you adapt songs from the studio to the stage?
While rehearsing, we’re usually just trying to cover all of the parts and nail them. This band has, for the most part, showed up at Day 1 of rehearsal well prepared as individual. Which is good because we usually have limited time before going on the road. Once we hit the stage, however, it’s about trusting you know the parts and engaging the audience. We’re not shoe-gazers by any stretch (not that there’s anything wrong with that).
Looking back across the albums you have sung on, which record do you feel pushed you most as an interpreter and why?
I mean, cheap plug, but honestly, this new one was more of a challenge than most because the moods and necessary approaches were so diverse. I’m very proud of the how the vocals turned out and not just mine but the harmonies contributed by our newest member Nick Potters (drums, vocals) and the others.
When you think about the next five years for Spock’s Beard, do you imagine more experimentation in composition and production, or are there older approaches you would like to revisit?
I don’t we need to consciously aim for older or newer sounds. I’m interested in attempting to keep most or all of it ‘in house’ for forthcoming recordings. Penning the title track gave me a renewed confidence in writing over a formed piece regardless of how quirky or complex…or LONG it is.
Finally, for listeners encountering Spock’s Beard for the first time with The Archaeoptimist, which track would you hope draws them deeper into the catalogue and why?
It may sound overly confident but I think the only song on this album I would not present first is the title track just due to the length. The rest of the songs sum up our sound pretty well. BUT, if I had to choose, I would probably play them Electric Monk (the 2nd song on the album) or Next Step (the last song).
