Well, well, the most nervously anticipated record from the undisputed kings of progressive rock, minus the charismatic frontman Neal Morse. Literally coming off the heals of last years double concept album "Snow," which was well received by fans and critics alike, Morse decided to split due to personal spiritual reasons, right the time of the records release, leaving fans to ponder what would become of the band; well all kidding aside "Feel Euphoria" answers all questions.
Being a more organic and raw recording than Spock's Beard's past work, seeing as the band finally performed together as a unit, giving the record a more raw punch, capturing their live energy, making the record more heavy atmospherically (although I would not exactly call it a Metal record). Now fronting the group is drummer/multi-instrumentalist Nick D'Virgillo, who adds his own grittier vocal style, being less "trained" but yet sounding more aggressive than Morse. Before this record, band members would literally record in separate studios, Neal would record the bulk of his parts at his home in Nashville, while the rest of the members would record in studios out in California (that was the case with "V").
With heavy cuts like the opening
"Onomatopoeia," "The Bottom Line," and the all out grooved title cut, it becomes clear that what ever way you want you want to look at it, SB's sound has changed all for the better, with more of an evolution aesthetic being the principal of the change. Of course there is the load of keyboards used, the bulk of which are Mellotrons, Hammond organs, and other analog synths, the drums have a yet drier and heavier sound, while Alan Morse's axework takes a more metallic step towards heaviness.
Yet, SB have not lost their sense of pop, the eased back bright ballad
"Shining Star" complete with shimmering acoustic guitars, flowing fretless bass, and an energetic "power pop" chorus is sheer proof of that.
"Ghosts of Autumn" is a dark piano ballad backed by the haunting Mellotron strings giving the cut a classic moody blues feel to it, adding yet more diversity to the record.
"East of Eden, West of Memphis" is yet another driving heavy opus, with yet even more pop sensibility, but as the record presses on, the guys let us know that they are not going to let this record go by without a concept track, complete with improvisational solos, jamming and ambient sound bites,
"A Guy Names Sid," which almost sounds like a continuation of the "Snow" saga completes the "Feel Euphoria" record on a heavy note, sounding like a long lost cut from Dream Theater's "Six degrees of Inner Turbulence," But wait the album is not over yet they offer us one more cut.
"Carry On" which is sort of a prophetic title seeing about how the band might been through the ringer with all the confusion, shows that Morse's influence is still present, seeing that this is the most symphonic sounding cut complete with brass.
Well folks, Spock's Beard has once again proved themselves worthy of being one of the forerunners of progressive rock, giving us a record with the perfect balance of songs and concepts, creating their heaviest record. Some might have thought that Morse was the heart and soul of SB, and don't get me wrong he seemed to have quite a bit of influence in the band, but yet carry on with another album that is done well with the current lineup.
Written by
Hashman Friday, October 10, 2003
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