Ted Leonard once again proves why he is one of the most respected voices in contemporary progressive rock. The singer of Spock’s Beard, Pattern-Seeking Animals and a long-time collaborator of Neal Morse, speaks to us in this in-depth interview about The Archaeoptimist, the new album by Spock’s Beard, a work full of energy, references to the band’s classic past, and new layers of musical complexity.
Throughout the conversation, Leonard revisits the songwriting process alongside Ryo Okumoto, the addition of the new drummer, touring plans, the possibility of returning to Spain after more than 25 years, and the current status of key projects in his career such as Enchant, Transatlantic and Pattern-Seeking Animals. He also reflects on his artistic relationship with Neal Morse, his most intense experiences on stage, and the personal and creative moment he is currently going through.
An extensive and honest interview with one of the key figures in modern prog, essential reading for fans of Spock’s Beard and international progressive rock.
David Aresté / Toni Marchante
M.S: To start, Ted, thank you very much for taking the time to speak with us today. The Archaeoptimist is a fantastic release that shows Spock’s Beard is still in great form. What can you tell us about this new album?
Thank you. I think this album has a lot of energy, and part of that is clearly due to the new drummer, which you may have noticed. But beyond that, everything about the music and the writing has a very special intensity. It’s a very dynamic album: it has peaks and valleys, very powerful moments and more introspective ones. There are great melodies, well-crafted musical passages, and overall everything you would expect from a Spock’s Beard album.
M.S: Speaking of the new drummer, he’s quite young, right?
Yes, he’s in his early thirties, which makes him by far the youngest member of the band. I used to be the youngest… and now he’s 20 years younger than me, so that says a lot. He’s a very talented musician. His main instrument is piano, drums are secondary, and he’s also a fantastic singer. He’s been a real find for this album.
M.S: We know Ryo Okumoto did an outstanding job on the album, and that you contributed lyrics to some of the songs. Can you tell us more about the writing process?
Sure. Ryo Okumoto and Michael Whitman were responsible for all the music and most of the lyrics. Lyrically, Michael carried the bulk of the work. Alan Morse and I contributed lyrics to three of the songs, including the epic, which had about four pages of lyrics.
After the 2024 tour, we decided it was time to make another record. Up to that point, we were kind of on pause. Ryo was already working on his second solo album with Michael—who also co-wrote the first—and they presented us with the material. The initial idea was to make it more of a collaborative band album, but when we heard the songs, we thought, “This already works as is.” It was a very cohesive set, so we decided to move forward with that material and save a more internal collaboration for the next album.
Everything came together fairly quickly, and nowadays we record remotely: we send each other stems, and everyone records from their own home.
M.S: About the tour… Were you about to present it?
Yes, yes. We’re doing a short tour, a couple of weeks in February, mainly in Scandinavia and Germany. We won’t be going to the UK, Paris, or our usual spots this time. The reason is basically financial. For this first leg, it made more sense to limit it to nine dates. It’s a shame because we know there are many fans in the UK and Western Europe, but it just wasn’t possible this time. If opportunities arise later, we might return.
M.S: It’s been 25 years since Spock’s Beard last played in Spain. Do you think this could happen soon?
Twenty-five years?! That was before I joined the band, when Neal Morse was still in. It was probably around the Kindness of Strangers or Day for Night era. As for Spain, it mostly comes down to promoters, venues, and guarantees. Often, it’s not about how many fans there are, but whether the logistics make financial sense.
My best advice for a big Spock’s Beard fan in Spain is: buy a venue, pay us way too much money, lose money… but then we get to play there. Not great advice, but it’s the only one I have. Festivals are usually the best way to get to countries we don’t normally play because they cover most of the costs. If there were a festival in Spain, that would be ideal.
M.S: You’ve now surpassed 30 years in your career. Do you have plans to celebrate this milestone?
We honestly haven’t thought much about it. The band started in 1993 or 1994, so we’re already at 31 or 32 years. We should have celebrated it during the 2024 tour, which was roughly the 30-year mark. There are no formal plans, but continuing to make records and tour is a celebration in itself.
M.S: The album title, The Archaeoptimist, is very curious. What exactly does it mean?
“The Archaeoptimist” is a pet name a father has for his daughter. It’s a play on words. She has a very positive, infectious attitude within her tribe and spends time digging for artifacts of a previous civilization that suffered an extinction event. It’s not a concept album, but the title sparked a lot of curiosity, which is why it was so popular.
M.S: If you had to describe The Archaeoptimist in just five words, which ones would you choose?
I’m not great at summarizing in a few words, but I’d say it’s an album that looks back at Spock’s Beard’s past, with clear references to older songs, while also introducing new melodic and harmonic complexity, heavily influenced by Ryo’s jazz and fusion style. It’s like blending all that with the classic Spock sound.
M.S: Switching projects: this year Pattern-Seeking Animals released your fifth album, Friend of All Creatures. How has it been received?
Pretty well. I don’t usually have access to sales numbers, but we have our core fan base, we keep releasing albums, and people still seem to enjoy it. We’re already working on the sixth album, which should be done by spring. I’m excited because in this band I get to show more of my guitar work, which a lot of people didn’t realize I could do. The sound has moved further away from Spock’s Beard with each album and developed its own identity, with influences from world music, spaghetti western sounds, even some country—probably because John and I love Telecasters. It’s progressive but very song-oriented, almost in a Pink Floyd kind of vein, though we also have odd time signatures and complexity.
M.S: The longest phase of your career was with Enchant. Is that project finished for good?
Right now, there’s nothing happening. The last thing was the 2019 cruise. Some new material was planned but it stalled. Doug has always been the driving force and is really busy. I stay in touch with the guys and I’d never say no to another album, but realistically, it doesn’t seem likely anytime soon.
M.S: Transatlantic is no longer active. What memories stand out most from your experience as the “fifth member”?
It was incredible, frustrating, and difficult at the same time. The first time was chaotic: I only had nine days to prepare, but it was so much fun. The second time was technically more complicated; I had computer and keyboard issues, but it was still an amazing experience. Being on stage with Neal Morse, Mike Portnoy, Pete Trewavas, and Roine Stolt is extraordinary. It’s a shame it won’t happen again.
M.S: Was Transatlantic the gateway to your collaborations with Neal Morse?
Actually, it started before that. Neal heard my 2007 solo album, loved it, and passed it to Mike Portnoy. Mike came up to me saying he had listened… and I couldn’t believe it (laughs). Since then, we always had a connection. When the Jesus Christ the Exorcist and Joseph projects came up, Neal called me directly. I always say I’d never say no to Neal Morse. I’m a fan first and collaborator second.
M.S: Were you satisfied with those projects?
Absolutely. Especially Jesus Christ the Exorcist. Playing Jesus was emotionally intense, almost traumatic, but also transformative personally. I spent months listening to the material over and over to prepare, and I grew very fond of it.
M.S: Looking to 2026, what are you most focused on?
Recording as much as possible while preparing for the February tour. Plus I have a day job, so my plate is full. The plan is to have the next Pattern-Seeking Animals album ready by early spring, so I need to get it recorded before leaving for the tour.
M.S: Will you play a lot of new material on the tour?
Yes, more than ever since I joined the band. We’ll play four or five new songs, including The Archaeoptimist, which is about 20 minutes long. The set is roughly two hours, about half new material, half classics. We won’t play the full album because, as a fan, I don’t like when a band does that.
M.S: After your injury last year, are you in good shape for the tour?
Yes, fully recovered. I play pickleball, work out… I’m fine. Everyone is doing well, though we’re getting older (laughs). This time we also have crew support, which helps a lot.
M.S: Finally, would you like to leave a message for your fans?
Sure. If you were a fan of Spock’s Beard in the past and haven’t listened in a while, give this album a shot. Many people who last followed us during Snow have renewed their interest. And if you don’t like it… tell someone else, not me (laughs).
David Aresté / Toni Marchante