Since their conception in 1992, SPOCK'S BEARD have consistently been releasing interesting and powerful album of progressive music which pushes the boundaries of where the music can go.

The classic prog style of Alan Morse's group explores an almost constantly changing set of complex musical themes, as well as extended lyrical narratives which come together to create a potent palette of ideas from which they pick and choose at will.

The musical ability on show on this 12^th album, "The Oblivion Particle" is truly astounding, with each band member showing plenty of their own virtuosity without the songs breaking down into a chaotic mess of one-upmanship.

The clean vocals with soaring melodies seem to effortlessly float above the luscious harmonic landscape built up by the keyboard wizardry of Ryo Okumoto and the dual guitar work of Morse and Ted Leonard.

The extended length of most of the songs on the album (Only "Get out While You Can" clocks at 4.59, while the rest of the tracks are six minutes plus). Each song explores different stories, with the narrative of "Bennett Built a Time Machine" being among the most memorable, the changing tempos and time signatures complimenting the storyline.

The instrumental section of "The Centre Line" has an awesome mix of intense technical sophistication and melodic beauty which really shows off the dynamic range that the guys in SPOCK'S BEARD have to offer.

The variety of this group's sounds is nowhere more diverse than in the epic (in both length and sound) "To Be Free Again" showing off all that the band has to offer, and retaining that sense of classic prog rock, drifting occasionally into compacted sections which have that heavier edge. SPOCK'S BEARD are still proving that they are a force to be reckoned with in the world of progressive music, remaining lyrical and melodic, without the ostentatiousness which has previously tripped up groups of the same genre.