Ryo Okumoto – The Myth of the Mostrophus
Release Date: 29th July 2022
Label: Inside Out Music
Pre-Order
Genre: Progressive Rock
FFO: Spock’s Beard, The Neal Morse Band, Genesis, Pink Floyd, Rush.
Review By: Eric Wilt
The world already knows that Ryo Okumoto is a peerless keyboardist, but on The Myth of the Mostrophus, he proves that he is an equally exceptional songwriter. Having spent the last 26 years in progressive rock powerhouse Spock’s Beard and coming off the road from a stellar tour with prog super-group Progject, it’s only natural to expect big things from Okumoto’s first solo record in twenty years, but nothing that has come before could prepare you for how awesome his newest opus truly is. Not only are the songs overflowing with prog splendor thanks to Okumoto’s amazing keyboard playing, but he went out and got a who’s who of progressive rock musicians to record the other instruments and vocals and ensure that each song lives up to the high standard he has set for himself. From Spock’s Beard alum like Nick D. and Alan Morse to Progject co-conspirators such as Michael Sadler (Saga) and Jonathan Mover to rock and prog legends such as Steve Hackett (Genesis) and Doug Wimbish (Living Colour), The Myth of the Mostrophus is filled with more big names than Yes has had members, and each one injects a piece of themselves into the album that is distinct yet flows together flawlessly.
According to the learning website Masterclass.com, “progressive rock is a subgenre of rock music that emphasizes ambitious compositions, experimentation, concept-driven lyrics, and musical virtuosity.” The Myth of the Mostrophus fits this description so well, that Okumoto should be the one giving the masterclass. The songs are complex yet accessible with hooks so catchy, you’ll be singing them for days. The musicians play off each other as if they are in the same room and not recording in separate studios. There is a fair share of noodling, but never without purpose. The instrumental section of Turning Point is a good example of how the mind-bending dual soloing of the guitar and the keyboard moves the composition from one section to the next. And, of course, there is a nod or two to the masters who came before Okumoto as exhibited when Morse unleashes his inner David Gilmour on Mirror Mirror and in the beginning of The Watchmaker (Time on his Side), which would fit nicely on Genesis’s 1980 album Duke.
Taken as a whole, the first five songs on The Myth of the Mostrophus contain enough progressive goodness to hold over even the most die-hard fan until (or if) Spock’s Beard releases a new record, but what prog rock album would be complete without an epic? The answer, of course, is none, and so Okumoto closes out the album with a 22-minute epic about Mostrohphus, the character from whom the album takes its title. The lyrics of The Myth of the Mostrophus are lighthearted, but the quality of the song and the musicianship is deadly serious. Joined once again by Spock’s Beard members past and present, Okumoto and company include everything that’s great about prog in one song. It’s ambitious, symphonic, bombastic, melodic, and full of tasty riffs and solos. Additionally, Okumoto gets to use most of the instruments in his arsenal over the course of the song.
In a year that has seen great releases from the likes of Haken’s Charlie Griffiths, Porcupine Tree, Nick D.’s Big Big Train, and a James Labrie solo album, The Myth of the Mostrophus by Ryo Okumoto is still the best by far. Proving that he is a prog rock genius, Okumoto has produced six songs that deliver everything that is great about the genre in spades. The songs are exceptional, the musicianship is flawless, and fans of progressive rock will come back to this album time after time because it’s as good as progressive rock gets.
(5 / 5)
