ALBUM REVIEW: The Myth Of The Mostrophus – Ryo Okumoto
As a key member of cult prog outfit SPOCK’S BEARD, keyboardist RYO OKUMOTO has had a storied and prolific career. Over the last few decades, Okumoto has been a driving force behind a range of instrumentally elaborate records both with and without SPOCK’S BEARD. However, it’s been a solid 20 years since Okumoto released original material under his own banner. Enter The Myth Of The Mostrophus, an over-the-top musical reckoning that is fittingly bombastic for one of the genre’s unsung heroes. Joining him for the ride is a cavalcade of equally virtuosic guests, ranging from the current incarnation of SPOCK’S BEARD to guitar luminaries like GENESIS’s Steve Hackett and Frank Zappa/Devin Townsend collaborator Mike Keneally, amongst others. With such a guestlist, and Okumoto at the helm, The Myth Of The Mostrophus is perfectly set up to be as technically impeccable as it is enjoyably ridiculous.
The album certainly starts off as strongly as one would hope with the beguiling Mirror Mirror. The track’s introductory guitar leads are nothing short of joyous, bringing to mind the upbeat jazz fusion of acts like CASIOPEA. When the song begins proper, we’re treated to a piece that walks a fine line between the extravagances of 70s prog and the melodic sensibilities of AOR. The vocals are charmingly smooth and pave the way for multiple harmony parts to intertwine with spacey synths and jaunty rhythm sections. All the song’s various layers snap together, meticulously constructed to complement each other. Even the middle section of guitar and synth solo trade-offs is consistently engaging, avoiding ever feeling indulgent for the sake of it.
The album never really falters from the high benchmark it sets with its opener, every song proving its own self-contained suite. Throughout, Okumoto’s frames of reference incorporate both the old and new of prog. The spiralling opening riff of Turning Point has shades of OPETH’s Sorceress, before stripping things back to lilting acoustics and rumbling basslines akin to early KING CRIMSON. Chrysalis on the other hand initially starts with folksy woodwind instrumentation before developing into something more reminiscent of the dreamy haze of PINK FLOYD’s pseudo ballads. Indeed, Chrysalis becomes one of the record’s many high points, slowly and quietly building upon its chorus to create something rousing yet mellow, like a whispered power ballad. The Watchmaker (Time On His Side) not only brags one of the greatest puns in song-writing history, but also has shades of 80s GENESIS thanks to the squelch of its spacey synths. It’s not only a mesmerising musical ode to a time-travelling watchmaker, but also hosts one of the album’s catchiest choruses, its wonderfully layered and polished vocals giving way to a number of incredible instrumental interludes.
With every song being its own musical adventure, it’s probably no surprise to learn that there are only six tracks on The Myth Of The Mostrophus, with the shortest timing out at just under six and a half minutes. With that benchmark set, you may innocently ask what the longest song clocks in at. That would be the album’s title track, totalling a leisurely 22 minutes. However, The Myth Of The Mostrophus is nothing short of a musical odyssey (or should that be oddity?), outlining the resurrection of the kaiju-esque titular monster as it terrorises the innocent people of Basingstoke. Delivered with precision and energy by various members of SPOCK’S BEARD, the song manages to incorporate all the trappings and tropes of a prog rock epic by flirting with every genre it can to tell its story – a particular highlight is its absolutely ripping saxophone solo around two thirds through. Inevitably, Mostrophus is thwarted by the dulcet tones of a local prog singer (natch) and Basingstoke is safe once again. The track is impressively well written and attention-grabbing, bringing to mind other similar single-track wonders like DREAM THEATER’s A Change Of Seasons. However, the far less serious subject matter here is a welcome change of pace.
While the album’s centrepiece title track is worth the price of entry alone, The Myth Of The Mostrophus taken as a whole oozes charm throughout. RYO OKUMOTO and the prog brethren he has assembled wholly embrace the genre’s reputation of instrumental extremes and out of this world lyricism, wearing it as a badge of pride throughout. The end result is a rare album; one that perfectly amplifies the inherent humour of an often-absurd genre, while sincerely delivering something mesmerising.
Rating: 8/10
The Myth Of The Mostrophus is set for release on July 29th via InsideOut Music.
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