PATTERN-SEEKING ANIMALS

1. Future Perfect World for the typical intro, very melodic with its velvety keyboards, a bit of YES in the distance, the well-placed voice, and then it will stay on the same plot still lacking that little something extra that could put them on the reference group orbit; and then my persistent memory of having ENCHANT in my sights with its prog metal convolutions that set the place on fire; in short, an excellent ersatz of SPOCK'S BEARD without the madness of the titles, very conventional, very square 2. Another Holy Grail with its symphonic intro and its majestic atmosphere, a bit of retro bossa nova, a melodic prog sweetness that must be kept in mind; winks to BIG BIG TRAIN also for the neo-classical breaks, complimentary, which also resemble each other. In fact, it lacks the prog variation in it which puts a little more musical fire 3. Down the Darkest Road Asian atmosphere in the distance, a little down and flower petals, vocals pregnant for this beautiful ballad with its share of violins; classic prog, choirs, a drumming; short but more swallowable, more listenable because less complex too; we do not get lost and we move.

4. In My Dying Days and the pop rock atmosphere of the 60s with a catchy chorus that makes you dance in the tavern; this is where the PSAs are the most effective, concise and releasing a precise theme; we even look for where this tune that we already have in mind can come from, no problem we nod, the guitar reverberates a little, the guitar solo is effective, which is ultimately missing from the big titles, paradoxical; good folk tune smelling of the JETHRO TULL of the time and the KANSAS with this catchy violin 5. The Seventh Sleeper nice start on a consensual jazzy-rock tune, perfect vocal which even takes up too much space with respect to the orchestration, like Neal MORSE in fact; moment when we expect something else to get up and leave to travel, there I stay at the port to listen to the lovely piano, there is a trap 6. Days We'll Remember with the melodic spleen tune, for fishermen returning to their port; the rhythm is very folkloric, catchy, hold on a little on the RITUAL; short but still incisive 7. Words of Love Evermore for the end of the ball, solemn entrance, the instruments in the spotlight; Ted is always up to date on soft parts, coming out of the terroir and accompanied by classical instruments; it's very melodic and very well done, but like a BARCLAY JAMES HARVEST in its time and a BIG BIG TRAIN today, it can lack the juice to take off; even the final guitar solo in two layers doesn't make me vibrate enough. A very good album from a melodic prog band with a neo-classical tendency for the instrumentation that lacks this gentle madness to make it a top. (3.5)

"Have you seen this episode here It's considered the best of the genre that year Yes it's a language I don't really speak Still genius work considering"

Have you listened to this new P-SA offering yet? These lines from one of the tracks in their first album speaks well for the quality of their new one. It's certainly one of the best for me in the Cross Over category for this year so far, and indeed, in my opinion this qualifies as a genius work well worth investigating.

As most know already, the rootstock of the band emanated largely from Spock's Beard, which was something I did not know when their first P-SA album was released, nor did I care as I wasn't a particularly big fan of SB's work. Perhaps this is my bad as I probably should take a deeper dive into their catalogue. That said, I was given a copy by a friend of "The Kindness of Strangers" which I rather liked, but my understanding after the fact is that it wasn't particularly well received by the SB fan base, nor was it representative of their best work. So, to be candid, for me, this connection between the two bands is something of a 'whatever' kind of point of interest. Perhaps, it was even a good thing that I wasn't aware of the connection as I had no preconceptions of what P-SA could, would, or should sound like.

Frankly, P-SA from what I can tell through my limited exposure to SB has an entirely different sound palette, one that I really enjoy. I would go so far as to say that P-SA from their first album forward have a quite distinct sound that is unique and easily recognizable. This is no easy fete when so many bands are borrowing ideas from each other and often sound similar. But musically, lyrically, and vocally there is a fresh optic here. This, of course, isn't to say that they don't do a little tapping into the grand pool of ideas out there now and then as I will allude to, but it's all within a framework that makes it their own.

As noted, I have been following this band from their first album, and it has been enjoyable to watch their progression and evolution. They seem to just be getting better and better. I have been wanting to review some of their albums before now, but this one has actually gotten me motivated to do it. I had been wanting to do a review in defense of their second album "Prehensile Tales", which I thought seemed to be their most prog oriented offering, yet ironically the lowest rated on PA, although still a respectable 3.66 score . I also had come close to reviewing the last offering "Spooky Action at a Distance", which has some marvelous offerings on it, but it was, as much as I like it, a bit large in scale, a bit all over the place, and I just couldn't get focused enough to do it.

But this new one, "Friend of All Creatures", is just absolutely right in my eyes. This is the album that they have been building up to. It's tight, focused, and the tracks are well ordered. It starts out great, stays strong, and has a grand escalation to a conclusion that will leave you wanting more. The lyrics are memorable, with some great chorus work, and hooks. Yes. Hooks. In prog. Who would have thought? Being cross over, it is of course accessible, but never pedestrian. The musical exploration is top notch with some lengthy instrumental sections, and continuous and frequent tempo and instrument changes. The lead vocal and secondary vocals are simply magnificent throughout. There are some influences from their previous albums, but plenty of new ideas for our listening pleasure. There is so much talent here that it's hard to put into words.

This new album is a shorter effort and offers up only seven tracks. This is considerably less than their previous album which show cased twice as many songs and nearly double the run time. This helps considerably in making this album accessible, absorbable, and memorable, and one you will likely want to return to frequently.

Before getting into my impressions of the tracks, I must comment on the album cover art. I liked their previous covers, but this one is just special. It's simple but memorable. Let's call it elegant in a Tim Burton kind of way. The use of striking red in contrast to the dark blue, gray and purple hues of all the previous album art is a nice change and seems indicative that we can expect new things in the music too. Seriously, this is probably going to be one of the most striking, memorable, and readily identifiable covers of the last year or two, and perhaps into the future as well. A keeper for sure!

Now, getting into the music itself, the album is broken down into four long tracks, 8 minutes and longer, and three shorter ones that are less than 5 minutes. My initial reaction was that I was immediately drawn to the longer tracks as being the stronger ones, but after multiple listens, I have come around to fully appreciating the shorter ones as well. Given that the album starts with the two longest tracks, you can't help but feel that this is a band at its creative peak and it just exudes absolute confidence in what it is doing, and rightly so. So, here we go.

Future Perfect World (9:38) The most striking part of the intro initially is the violin giving it a bit of an Irish feel, but this quickly fades off as the keys take front and center with the guitar work running side by side. Happily, the violin work will keep reappearing throughout the album. Great lyrics, great vocals, great instrumental sections by the keys and lead guitar. This one just keeps building and building, and lets you know that you are in for a great ride to come. A hint of the Glass Hammer vibe here that I really like. A fantastic up-tempo opener, nine minutes of cross over bliss! 10/10

Another Holy Grail (12:20) Opens with lyrics over a light soundscape that then turns into a 4 minute plus instrumental workout where all the musicians get their moment to develop the musical theme. After a second block of lyrics, another more energetic instrumental section mostly featuring guitar follows. Then a third block of lyrics and another instrumental stretch continuing the build up but this time featuring a more keyboard driven section, and what seems like violin. But perhaps in this case it isn't actually a violin as sometimes it's hard to tell what is and isn't a synth anymore! Anyway, it all builds up to a climatic finish. Another very strong track. 9.5/10

Down the Darkest Road (4:34) Following the complexity of the first two big energetic tracks with all their tempo changes, lead instrument pyrotechnics and shifts, this is a short and extremely well-placed ballad. It creates the re-set that will start from here and build up all the way until the end of the album. It is by far the most straight forward and simple song on this album, but it has some nice elements. The vocalist has a haunting quality that is hard to forget. The violin, this time for sure a violin, returns to add to this eerie atmosphere. The guitar picking and soft synth wash underneath it all creates a nice, chilled tempo that is a welcome respite after the workouts both these instruments had in the first two tracks. 8.75/10

In My Dying Days (4:42) Another shorter one here, starting with a special guitar sound that's been pretty unique to the P-SA sound from the very beginning. It has a kind of beachy, western like sound. Difficult to describe but think perhaps the B-52s doing a score for a western film. In some of the previous albums this sound has been more omnipresent, but this is the only time it shows up on this album. Something of an expected prerequisite, so bravo. The violin runs along side in a prominent fashion, creating a bit of a Kansas like aura. Again, a somewhat less complex song than the first two, but stepping up their game and the pace as they move into the second half of the album. 9.25/10

The Seventh Sleeper (8:11) This starts with speaker jumping synths and some vocal sound bites that immediately reminded me of Seal. Yes. That Seal. The one that did the Super Bowl commercial. Quick as it appears for a moment or two it is gone again never to return. Perhaps this is the band showing a bit of a sense of humor. From there, everything else joins in and ramps up and at two minutes plateaus out for lyrics over a somewhat prog jazz type arrangement. I really like the lead and backing vocals interweave here. Part of the time the backing vocals are first with the lead vocal repeating the lines, and part of the time the reverse. All are talented singers and this really shines. At about the 3:45 mark there is a notable guitar lead section that runs for about two and a half minutes, dropping back into the final vocal section. Definitely another great track building towards the conclusion of the album. 9.75/10

Days We'll Remember (3:54) The shortest of the short tracks, and the best of the three short ones in my humble opinion. This is just pure ear candy, a mid tempo ballad, that is up lifting and simply makes you silly happy. More pop than prog I suppose, a simple enough song structure, but so far elevated above the fare you might hear in the mainstream that there is no comparison. Prog people aren't so much about singles, but this would be a great one! Nearly perfect. Sets the stage for the grand finale. 9.5/10

Words of Love Evermore (8:41) Starts with light keys, and then guitars thunder in with slow drawn out chords, somewhat ominous, and then rolls into the main theme of the music, big and lovely. Drops back for slow lead guitar and first vocal sections. Just love Ted Leonard's vocal in this tract, so emotional and compelling. The harmonizing secondary vocals of the band are fabulous also and lifts this way up even more. So much talent here in the arrangement! Next up is another instrumental section starting at 3:30 with emotive piano forward, then guitar, and big synth outpour, wow! Drops back to a short almost ambient section, and then back up into the main musical theme. Starts the concluding vocal section, that leads into a three minute plus outro featuring the main title chorus lyrics with fabulous guitar solo over the top until it all fades away. Big finish to an even bigger album! Just exquisite! Again, another 9 minutes of cross over bliss! 10/10

In conclusion, this is simply such a great album. It really could be the best of the genre this year! We will see. In any event, it will surely gain them considerably more exposure and broaden their fan base. As I mentioned at the outset, this is the one they have been working towards. It is certainly their magnum opus so far! Every track is needed and wanted and is in the perfect spot, and the overarching arrangement of the songs is brilliant. So much thought put into this production by the band without question. I have been playing this every day since it dropped in February, and just love it more and more. Not even close to moving this out of high rotation any time soon. If you like cross over prog, this is an absolutely essential album for your library. Five stars without any reservations at all. Enjoy!

The project of former SPOCK'S BEARD members Ted Leonard, Dave Meros, and Jimmy Keegan and John Boegehold has become quite the favorite around these parts. This is their fifth album release since their 2019 self-titled debut.

1. "Future Perfect World" (9:38) well-constructed, evenly-tempered prog feeling somewhere between Guy Manning's DAMANEK project and the folkier side of the end of BIG BIG TRAIN's Dave Longdon era. There are even a few memorable "hooks" --like the Andrew Lloyd-Weber-like vocal call-and-response of the seventh minute. And the music feels mature, not a mess of clichés being thrown at the audience nor the over-the-top bombast: just solid progressive rock music. (18.25/20)

2. "Another Holy Grail" (12:20) another very even-keeled prog song that seems to indicate a level of self-love, self-satisfaction, and self-esteem that no longer requires external validation for the music that they create. I am reminded in this song of Johannes Luley's first project with which he lept into the eyes and ears of prog lovers: MOTH VELLUM. Within the music of the first five minutes of this piece there is the continued feeling that we're listening to the overture/introduction to a rock opera being staged in a theatre in the West End. Then Ted Leonard enters and the music (with "orchestra" support!) definitely settles into full support of the introductory vocal. In the eighth minute the band tries to ramp things up as Ted wraps up the first round of his vocal storytelling but it's really more for the support of some kind choreographed dance or set movement on the stage. When Ted returns it is within a vacuum of simple piano-supported music (just like a stage musical!) but then the band (and "orchestra") returns and Ted and the instrumental tangents alternate for a bit before everybody gets on board a steady-moving train at the end of the ninth minute. The almost-exciting, invigorating ride lasts through to the end of the song, which is nice, and ends up being just the ride, not the story, which is also nice (since I don't process lyrics well). As the music to a stage musical, this is quite good. As a prog song I'm not quite as won over. (22.5/25)

3. "Down the Darkest Road" (4:34) a song that has a nice instrumental sound palette (with some nice violin play in the middle) and some finely-crafted synthesized "orchestra" work, but its lack of development makes it feel as if it is an interlude filling space between songs (which would make sense if this album were, in fact, intended as a kind of theatric rock opera). (8.875/10)

4. "In My Dying Days" (4:42) a fairly simple classic rock ballad song that chugs along without much proggyness. Even the choruses don't offer much to change this feeling, it's not until the bridges and brief instrumental passages that we hear anything interesting (which happens to be mostly violin). (8.66667/10)

5. "The Seventh Sleeper" (8:11) very pleasant, laid back music with nice melodies and chord progressions over which the musicians have ample time and space in which to deliver some well-thought out and well-executed solos. Being a fan of the folk-side of Big Big Train I can definitely see the similarities here. Plus, I love Ted's theatric and athletic vocal performance--especially in the seventh and eighth minutes (the song's peak stretch). (13.75/15)

6. "Days We'll Remember" (3:54) an unfortunate opening prepares us for something that plods and drags along, though the instrumental palette is nice (rolling bass, acoustic guitars). There's a lot of STYX hear--especially in the chorus--which, if I remember correctly, is one of my criticisms of the old Beard sounds. A nice classic rock radio-friendly AOR song from the late 1970s or 1980s. (8.75/10)

7. "Words of Love Evermore" (8:41) this one does open with a different and interesting sound palette: one that sounds quite unlike the typical NeoProg fare. But then the power chords and straight time rhythm track step forward and take us into fairly typical NeoProg fare. The band clears out at the end of the second to make room for the entry of Ted Leonard's vocal--which brings us even more into the realm of simplistic AOR STYX. Nothing in the instrumental section of the fourth minute offers anything exciting, innovative, or exciting (despite some nice melodies). Though there is a little thickening of slightly more aggressive instrumental play in the final third, it still remains an almost-devotional sounding song. (Were the Beard always Christian-oriented? Even after Neal Morse left them?) (17.5/20)

Total Time 52:02

I cannot help but admit that I have a bias against this band (and this album) before I even sit down to listen to their music: I have never liked the cliché-filled, prog-by-numbers, NeoProg of Spock's Beard. In fact, I've always found their music cringe-worthy for the kitschy stereotypic sounds and structures they came up with (with or without Neal Morse). After seeing all of the high praise for this new album I decided to at least give this one a listen. However, I also decided to try to approach the listening of this album with a different, more "ignorant" attitude so that I might just take it for the music without any personal leanings (if that's even possible). These four guys have a history of having quite an affinity and talent for creating long, interesting, multi-part suites or "epics" and this album will do nothing but solidify that legendary status. On the other hand, the short songs here are so weak--so shamelessly simplistic--that it feels like a slap in the face to other prog artists to call them "prog."

B+/4.5 stars; an excellent album for any and all prog lovers despite the "Jeckyll and Hyde" quality difference between the longer songs and the shorter ones.

Today I'll be reviewing the fifth album by the Spock's Beard spinoff Pattern Seeking Animals called "Friend of All Creatures." It was released on Feb 14, 2025, so is still very new as I type this. Pattern Seeking Animals (PSA) consists of Spock's Beard (SB) members Ted Leonard on lead vocals and guitar, Dave Meros on bass, former SB drummer Jimmy Keegan, and longtime SB collaborator/songwriter John Boegehold on keyboards and vocals (he is also the composer/arranger/producer). Since they released their first album in 2019, PSA have been remarkably consistent in terms of releasing an album a year (although they are a bit late, this time) as well as in the high quality of the music. This is my first cold listen to the album.

Let's get going!

Track 1 - Future Perfect World

This is the second longest track at 9:38. An easy-going keyboard part starts the track off at a moderate tempo. Guitar notes with swelling volume accompanies the keyboards. The rhythm section begins to provide accents, and the groove begins to take shape. A cool organ part takes over at just before 1 minute, in a question-and-answer part with a synth. The tempo increased slightly during this wonderfully proggy intro. The vocals begin a bit ahead of 2 minutes in. The meter is a very steady 4-4 here. Harmony vocals join as we proceed. The organ takes charge in the first break between verses. At around 4 minutes the keys lead into an instrumental break. The music takes on a half-time feel, then bassist Dave Meros is featured on a fretless bass. A guitar solo follows at around 5 minutes. The music has gone into 6-8 and feels "floaty." An instrumental melody emerges out of this section. Things ease off around 5:40, and another vocal section begins, maintaining the 6-8. The music begins to have a darker feel, until the meter changes at around 7:20. Ascending instrumental lines chase each other, and the tempo picks up and returns to 4-4. The rhythm section drops out near the end and harmonized vocals and keyboards continue until the song fades out. Excellent opener.

Track 2 - Another Holy Grail

This is the longest track at over 12 minutes. Vocals begin immediately with electric piano accompaniment; the music has a ballad feel. Harmonies and sustained bass notes join in as we proceed. After a syncopated rest, the vocals crescendo and a new segment begins with dynamic synth playing. Guitar takes the lead and then an odd metered groove takes hold in the bass, guitar and drums, while the keyboard (mellotron, perhaps) has a lot of manipulated sliding notes (I am reminded of the Moody Blues' "Legend of a Mind"). Some vocal sounds stab through before a synth solo takes center-stage. There is a countermelody and then the drums drop out. When they come back in, it's with a jazzy feel and a rimshot on the snare beats, along with some claves clinking away. At 3 minutes, the music shifts again, with flute-like sounds taking over. A very dramatic drum roll leads us into the next segment. The Music double-times at around 3:45. This feels like the overture of a musical production as it has a very orchestral scope. The music basically becomes a steady beat, and vocals enter at around the 5-minute point. There are occasional subtle meter shifts as we progress. At 6:45 the music takes another dramatic turn as Leonard repeats the phrase "not the end," and sustains the notes. A great bass line supports the vocals here. A guitar solo follows. Next up is another orchestral feeling section with organ swells underneath. It then returns to the piano ballad feel from the intro. The sliding mellotron sounds return. We are then into another scene in the cinematic music. There is a bit of a 70s TV action show vibe at times as well. The music keeps getting more intense as we approach the ending. Great prog. It's going to take a few more listens to fully wrap my head around, but I like it.

Track 3 - Down the Darkest Road

This is one of the three shorter tracks of under 5 minutes. A harp-like intro starts this one off, to be joined by mellotron choir and tuned percussion. The vocals enter telling a tale of a traveler that the narrator met. Nice harmonies at 2 minutes. This feels like a classical art song. Violin comes in next (by guest player Eliza James). A few snare rat-a-tat-tats join the soundscape at around 3:30. I believe the traveler is "death" and he is summoning the storyteller to go with him, but I could be wrong. The tone is a haunting melody of this one. A college music department with chamber singers and orchestral players could do a nice arrangement of this. Well-done.

Track 4 - In My Dying Days

A dramatic cymbal roll ushers this one in. This is another sub-5-minute track. The guitar tone is a bit like the "007" theme song, albeit with a different melody. Vocals enter at just before 1 minute with a chugging muted acoustic guitar and keyboard flourishes. The rhythm section is subtle. I like the lead-in to the chorus. Another verse follows with some variations. I like the key change on the second chorus. There is a Steinhardt-influenced violin part playing a countermelody at around the 3-minute point. A nice guitar solo follows, leading to the bridge. Good track that had my foot tapping before it was over.

Track 5 - The Seventh Sleeper

This one is 8+ minutes long. A staccato keyboard part starts this one off. The ride cymbal hits on the 2 and 4 of each measure and another sustained keyboard part plays over the top. The rhythm section kicks in fully and the music begins to build up. The guitar takes over with a different muted-staccato rhythm as the verse begins. I like the call & response style vocals as we go along. The beat is moderately slow and steady. A gentle acoustic piano takes the lead over the rhythm section and electric piano. This gives way to a Ted Leonard guitar solo. His solos tend to be melody-focused with the occasional flourish. A nice odd-metered part follows the guitar solo. At around the 5-minute point a mandolin can be discerned in the mix. Flute sounds enter, and then parts start layering as we go. The music takes a darker turn around 6 minutes in. Leonard is really giving it his all at around 6:30 from a vocal standpoint, teetering on the screaming threshold. Things smooth back out a few seconds later. Once again, the music is getting very dynamic and dramatic. Fantastic track!

Track 6 - Days We'll Remember

This is the shortest track at a little under 4 minutes. Guitar harmonies in 6-8 that are reminiscent of Kansas' "Hold On" start this one out. They are replaced by acoustic strumming and vocals at around 20 seconds in. Leonard's vocals seem to be getting stronger as the album goes on. I like the cascading vocal harmonies around 1:30. There is an interesting keyboard tone supporting the melody. A brief instrumental break leads to a very dynamic bridge. Great high note around 3:30. This AMAZING track ends on a foreboding minor chord. I am wondering if it foreshadows the final track.

Track 7 - Words of Love Evermore

We are back over 8 minutes again. To answer my question from the previous track, it seems to have nothing to do with this one. A quiet bass line starts us off here with a syncopated ostinato. Vibraphone chords come in over the top. Well maybe that final chord does foreshadow this track as there are some minor chord accents as the opening section comes to a close. However, as Keegan leads into the next part with a drum fill, the tonality turns major (around 1 minute in). At around 1:30, a new melodic theme takes over. Ted is showing the range of his vocal abilities here, as he is singing the melodies with great gentleness as opposed to the power of the previous track. The music takes on a gospel choir-like feel at just after 2 minutes in. There is a wonderful bit of vocal arranging around 3 minutes in. This is followed by a shift to a piano solo at 3:30. One thing I am finding after reviewing a lot of prog albums is to not get too comfortable on one groove for too long, as it will probably change before I can type the description (I'm a lousy typist, but I make it work). I love all of the mellotron used on this album. Nice, odd meters in the synth break. I really am enjoying the vocal harmonies around 5:15. Keegan's drum fills are not flashy, but they serve the song well. The orchestration at around 6 minutes is wonderfully executed. Leonard takes a guitar solo at around 6:35. I can't get enough of the various layers of instruments and vocals as the song nears conclusion. Boegehold has done a great job! Spectacular closing track!

OVERALL IMPRESSIONS:

Fantastic album! These four musicians have really made something special here! This album started out good and just kept getting better and better, especially on the final 3 tracks. While any fan of Spock's Beard will pick up some stylistic similarities, PSA is not just a different SB lineup. PSA has their own thing happening here, and I picked up a few dashes of Kansas influence in there as well. Leonard's vocals are dynamic throughout and get better and better as we go through the album. His guitar skills are quite good as well, even though he may not be at (SB lead guitarist) Alan Morse's level of virtuosity. Bogehold's keyboard arrangements are simply astoundingly good; although?like the comparison between Leonard and Morse's guitar skills?he may not have the flash that (SBs) Ryo Okumoto has, he's still no slouch. Meros is a top-flight bassist, but his bass lines aren't as out front as they tend to be in SB. Keegan is a great drummer, but again, he plays to the song and doesn't take the spotlight often. So, all of that is to say that these four excellent musicians play and sing to serve the songs, the songs don't serve to showcase their abilities. Anyone who enjoys melodic prog-rock will find a lot to enjoy here. Great album! 4.5 stars.

Clicked 4, but really 4.5!

An offshoot of Spock's Beard, Pattern-Seeking Animals have released their fifth record, Friend of All Creatures, on Giant Electric Pea (GEP) Records. This is their first record not to be released on Inside Out Music (who seem to be trending in a progressive metal direction). I must confess to having never heard a P- SA album (and I'm no expert on the music of Ted Leonard), but after seeing several positive reviews of this release, I decided to check it out.

This album really grew on me. It is a very intimate listen (it does not sound good on headphones; a good pair of speakers a required), but upon repeated listens, I was amazed at how it weaved into my brain. My favorite track has not changed between listens?the opener, "Future Perfect World", which features an incredibly catchy chorus with a great and unique melody over a common chord progression. "Another Holy Grail" follows it up with a great introductory climax into a Moody Blues-style groove.

Two short pieces, "Down the Darkest Road" and "In My Dying Days", follow the first two tracks up. The keyboards on these tracks are not the best selections, but I find Leonard's vocals and guitar work to stand out on these tunes in particular. Another longer track is next: "The Seventh Sleeper", with funky guitar towards the beginning.

The album closes with "Days We'll Remember", a poppier tune with a catchy chorus, and "Words of Love Evermore", with a great atmospheric intro. I find the four longer pieces to be a bit too long. I also wish that Dave Meros' bass was featured more prominently in the mix (as it cannot be heard much outside of the middle section of "Another Holy Grail"), but apart from that, this record really did grow on me. Perhaps a deep dive into this catalog is due on my part. (My actual rating is 3.75/5 stars)

I have pre-ordered every PSA album after the first when i realized how unique and dynamic this band was. And it was also very quickly that I knew that this was much more than a Spock's Beard off shoot. It is obvious after just 4 complete listens of this their 5th album in 7 years, that yhis is their must focused and concise effort, and just possibly might be my favorite. Realistically its a 4.5, but Ill round it up to 5 cause i feel like the more I get into it the more Ill cherish it. Plus the cover art is really good, which doesn't hurt. Even though its not as eclectic ascthrir previous, its both extremely progressive(Another Holy Grail), and poppy(Days Well remember). Again, its john Boegehold's songwriting that is the bedrock of everything PSA does. Yes the musicianship is stellar, but it always serves the songs. And these songs have haunting melodies and hooks galore, but there's nothing really mainstream about them. They are always unique. I have to admit I wasn't bowled over at first spin. But my enjoyment ofvthis record grew exponentially with each listen. In a nutshell the first two songs are the proggiest, Future Perfect World, and Another holy grail. The first is more focused, the second us much mire dense and takes some time to get into, but I love it too. Down the darkest road is pure ballad bliss. A little creepy but very memorable. The second side of the vinyl starts with In my dying day, another shorter and with a very memorable hook. The seventh sleeper is a mini epic with some great hooks, solos, and just proggy enough. Next us Days We'll remember. Which after only 4 listens is not only my favorite PSA ballad, but maybe one of my favorite prog ballads ever. The vocal performance by Ted Leonard is maybe my favorite ever of hus, of any band he's been in. Close your eyes and youll swear you're hearing Steve Walsh from 70s Kansas. Seriously, its that good. And this perfect side ends with Words of Love evermore, a majestic symphonic prog mini epic. Just incredible. I think theyve finally made the album theyve been shooting for. And the first four are great, this one is just perfect.

Pattern-Seeking Animals (P-SA) is rather the prolific type. Born from the ashes of Spock's Beard, the group released their 4th album in 5 years: 'Spooky Action At A Distance'. Part of a Prog Rock that could be described as "classic", P- SA 's music is no less interesting and extremely refined. However, it will be necessary to go beyond a first listen which can leave a feeling of homogeneity without relief (lasting 1h33, bonus included!) to truly appreciate the richness of the different titles.

A rhythm worthy of a military march opens the album and "The Man Made Of Stone". This first impression is quickly forgotten when the comforting voice of Ted Leonard and the melodic power of the group intervene. We will note synthesizer sounds that catch the ear, excellent bass licks, and a magnificent cello part. An opening that sets high foundations.

A very 'catchy' synth/bass riff opens the way to "Window To The World", a track marked by a different rhythmic approach which leans towards Reggae. I particularly appreciated the placement of the vocal lines in this syncopated environment.

Once again, opening with a killer bass lick and an unconventional rhythm on "What Awaits Me". The title is magnificently served by the acoustic instruments (including unusual sitar sounds) and the contribution of the brass. In addition, the choirs are more present here, reinforcing the emotional side of the song.

Long development of more than 12 minutes, "He Once Was" is one of the central pieces of the record. A medieval/folk type melody introduces this title with superb wind instrument parts. Gradually, the title evolves towards more contemporary sounds, and we find rich instrumental sequences, an emotional "Floyd-ian" guitar solo followed by a sober but effective saxophone solo reminiscent of Supertramp.

"Underneath The Orphan Moon" has the markers of a sad nursery rhyme telling the story of a young girl who is expecting a baby and decides to leave home. The contribution of the brass reinforces the emotional side, and what can we say about the very unusual guitar solo!

Without transition, it's time for the up-tempo of "Clouds That Never Rain" and its little instrumental motif which permeates the mind. "Bulletproof", for its part, is a cover of a Spock's Beard track from the album 'Noise Floor'. It's a song that sounds rather pop and has the particularity of containing in its lyrics the name of the future group ("Just a pattern-seeking animal caught up in God's grand parade").

A more complex title than it seems, "Somewhere North Of Nowhere" is marked by a particular rhythmic signature and reveals the most Prog side of the group, notably via a bridge with a disturbing atmosphere. Small drop in speed on "Summoned From Afar" which struggles to capture attention throughout its duration, and here we arrive at the last track of the record, "Love Is Still The Light". This more classic ballad in its form, carrying a message of hope, is once again a great success thanks (among other things) to the contribution of female voices.

'Spooky Action At A Distance' is an album that's fairly easy to access, but whose beauty lies in the details. The writing and performing talents of Pattern-Seeking Animals are quite evident and allow them to now play in the big leagues.

Review originally posted on www.progcritique.com.

I am glad to see that Spock's Beard have various tours lined up as it would not take much for fans to assume that band no longer exists, given they have not released an album since 2018 (the return to form 'Noise Floor'), but the band formed out of it have now released their fourth since then. Both Ted Leonard (lead vocals, guitar) and Dave Meros (bass) are still in the line-up of Spock's Beard, drummer Jimmy Keegan was in the band for a large number of years, while keyboard player John Boegehold is a long-time collaborator (and nearly joined them prior to Ryo Okomuto). I have been a fan of Ted's since the debut Enchant album a million years ago, and he never disappoints (so pleased I managed to catch that band in concert), Jimmy Keegan has always been an exciting player who adds to every band or project he is involved with, Dave Meros is one of the most exciting and constructive bassists around (listen to any of his live work in particular to see just what he brings), while John Boegehold is an under-rated keyboard player and composer who has finally made it into the spotlight he so richly deserves.

P-SA have shown with their previous works that they are not an SB clone, and in fairness the current SB is very different indeed to the band which set the prog scene alight nearly 30 years ago. Here they continue that development, showing they have their own identity as they continue to follow a style of prog which is both commercial and mixed with American melodic rock and even some pop elements which make them truly crossover. In Keegan and Meros they have a superb rhythm section, and against this the keyboards and guitars work well to create the backdrop for Ted. Remember, he is a singer first and foremost and a guitarist second, with Alan Morse very much taking the lead role in Spock's Beard and Douglas Ott in Enchant, yet he combines well with John, showing he is more adept in that area than many would give him credit for. However, it is not his main area, which means the songs are very constructed and arranged so the feeling is that the music is always there to support the vocals and create the atmosphere and feeling.

The result is a wonderfully polished and enthralling album which can be enjoyed the first time it is played, and while there is not too much depth it is also a grower and one which can be played repeatedly. Given the success of P-SA it is going to be interesting to see if we do get another album from Spock's Beard, and if so, just what is it going to sound like? P-SA are very much creating their own path, moving far away from their roots, emotional and sitting happily in the prog mainstream.

Though I own and enjoy all their studio albums, this 2023 offering is my first review of this talented US band, often described as a Spock's Beard offshoot because of common musicians, a group that just never stuck with me even though I have 4 albums of theirs! Pattern-Seeking Animals have always impressed me with some intricate yet addictive melodies that seem to be the hallmark of their craft. The talent of former Enchant and SB vocalist and guitarist Ted Leonard is literally off the charts, a rather intoxicating duality that leaves a very strong imprint on the material. Bassist extraordinaire Dave Meros is a stalwart four string figure and combined with Jimmy Keegan on the drums, they certainly can be labelled as the dynamic duo. The unheralded keyboardist John Boegenhold remains perhaps the main reason why the incredible melodies have such an understated majesty to them, as his interventions colour the entire spectrum of soundscapes that litter all the tracks throughout their discography.

Immediate impact is achieved on the highly melodic "The Man Made of Stone", a perfect prog opener as it charms the ear from the get-go, drizzling all the ingredients discussed above with a measured equilibrium and expectant pace. After the amazing voice engrave the verses and the main chorus with conviction, the slithering synths, cello and mellotron interventions elevate the track into celestial heights, imaginative beyond the norm and crowned with a soaring Leonard guitar solo that dances with the orchestral backdrop. Tremendous piece. Two concise tracks present a more accessible, fun side to the playlist, as the spotlight shines on Leonard's dazzling vocal intricacies, tick-tock percussive meters, and inspired playing by all involved. "Window to the World" also has a deep bass splurge that shoves this piece along succinctly. That same swirly 'pattern-seeking' bass introduces "What Awaits Me" and its ghostly outlook mostly due to the glacial keyboard backdrop, with a leather-lunged vocal and a glittering prize guitar solo from Ted, finished off by a mellotron permeation.

"He Once Was" shows how well some American bands can perform the British prog style, as this 12 minute + epic has an illustrious amount of diversity in the numerous transitions, at times vocally playfully pastoral, then intensely passionate, before unleashing their instrumental dexterity, once again initiated by that carving bass. Stinging synths, shaking guitar riffs and a colossal pulse lead the extended arrangement into glorious imagery, full of mystery and imagination (to quote the earlier Edgar A. Poe) and intoxicating melodic intent. When Leonard reverts to his microphone, the stimulating atmosphere becomes a bucolic sing along that escalates into quite the anthem. Ted whips out his electric guitar and proceeds to slay this dragon aided, and abetted with a textbook sax solo that adds the coup de grace. 'They are on their way home'.

A return to three shorter tracks, beginning with a more conventional ballad in "Underneath the Orphan Moon", nothing complicated but expertly assembled with electrifying orchestrations and a huge vocal delivery that convinces without the slightest doubt. Meros underlines it all with his mellifluous bass, assisting Ted into another brief guitar blast and an ornate piano finale. The romping "Clouds That Never Rain" has a quirky feel, with harmony vocals supporting the lead vocal, a few addictive twists and turns that enchant (pun intended), a radio friendly piece that has cleverness and curiosity as the main draws. "Bulletproof" has an original early prog texture at first, with an echoing e-piano leading way, mellotron not far behind, evolving into a very comfortable place, raising the roof on a chorus that veers towards the dramatic.

Mini-epic time arrives back at the orbiting station, "Somewhere North of Nowhere" is another example of how the contrasts can be found within the same piece, as if a duel between two differing places or situations, incorporating instrumental complexity into the basic melodic mix, perhaps showcasing the exact definition which makes this band so interesting. Leonard has always been a fabulous singer but in this ongoing progressive environment, he glitters like gold, intensely compelling even when menacingly dramatic. The fact that he can sparkle on the fretboard is such a massive two-fer. Check out Keegan's pummeling polyrhythmic display here, a master craftsman indeed. Its companion is the eloquent "Summoned From Afar", a colossal second salvo that elects to veer into a highly cinematographic vein, where mandolin, mellotron and choir (always a winning combo) take hold of the senses and never let go, through all the dizzying ebb and flow of a poignant story about a war weary combatant who just wants to come home again, a reappearance of a unassuming life of happy comfort , as implied by a playful flute. The mandolin reappears to cavort with the mighty mellotron, waiting for another blistering axe solo to settle the score. These two tracks really impress even the most reticent animal. A swooning love song to finish off any album will never get a no from this romantic penman! "Love is Still the Night" has all the attributes of a classic tune, interpreted by a plethora of potential balladeers, both professionals and amateurs as it is armed with expressive lyrics, an over-the-top melody, and a pleading vocal for the ages.

4.5 Eerie secluded movements

Yes they're back! P-SA has released their 4th album today! I've read several things about it over the last few weeks, some positive and negative things about this new album from the spin-off of Spock's Beard... they are different, and you can see it on this record. Stop thinking that haha

In this album, they present their well-written prog/art rock music as we heard in previous albums, but this time, I feel they reached their own sound and feel. This is in my opinion their most mature album to date, exploring the art-rock side with short and more accessible tracks and their soundtracky and adventurous compositions with longer songs. A mix of their three previous albums into a well constructed and balanced record.

The performance on this album is so great and the arrangements and soundscapes, the choice of sounds is brilliant, I think that's the contribution of John Boegehold (mostly). Kudos to him!

Starting with this cinematic side, kind of spaghetti western song, "The Man Made of Stone", a great presentation for the album. Followed by two short tracks, "Window to the World" and "What Awaits Me?", exploring that art-rock and commercial side, nice tracks. And another long song pops in, "He Once Was", a very adventurous composition, a trip through different musical textures, the slower sections are incredible, exquisite arrangements and stunning vocals by Ted Leonard - he always sounds great.

After that the ballad "Underneath the Orphan Moon", very emotional, and my favorite track "Clouds That Never Rain", very 80s influenced, powerful and melodic. We continue with "Bulletproof" very poppy and "Somewhere North of Nowhere", which reminds me a lot of Spock's Beard.

"Summoned by Afar", what a great song, the folky side of P-SA is incredible. Great evolving song, arrangements are awesome, especially the choir moment. And they close the album with a beautiful ballad "Love is Still The Night", lovely ending.