For over three decades, Alan Morse has stood as one of the most distinctive creative forces in modern Progressive Rock. As co-founder and longtime guitarist of Spock’s Beard, he helped shape a sound that blended high-level musicianship with adventurous songwriting and a uniquely human emotional charge. Yet Morse has always been far more than a guitarist: an inventor, multi-instrumentalist, producer, designer, visual artist and restless explorer whose curiosity continually pushes him toward new creative horizons. With So Many Words—his long-awaited second solo album, arriving in January 2026—he returns with a work that gathers together an extraordinary cast of collaborators, from Neal Morse to Simon Phillips and Tony Levin, while diving boldly into noise, texture, melody and narrative form. Progressive Rock Journal sat down with Alan to explore the origins of this new chapter, the ongoing evolution of Spock’s Beard, and the ever-expanding artistic world that continues to define his career.
“So Many Words” arrives more than a decade after your solo debut. What made this the right moment to return to a personal, standalone artistic statement?
I’m just kind of lazy and really picky! It takes me a long time to write and record stuff. Plus I just like to do the fun parts and not the boring parts. There’s a lot of boring stuff that needs to get done to make a record…
The press release describes the album as touching the fringes of Progressive Rock, noise, loud guitars and more traditional influences. How did you shape the sonic identity of this record?
I just do what I like and go wherever that leads, I don’t really have a plan, I just what I think is fun, exciting and inspiring. I don’t know where it’s going, I don’t try to control it.
You handle a significant portion of the instrumentation yourself. What guided your choice of instruments and textures, especially given your vast multi-instrumental palette?
I like to play with different instruments, I have a very eclectic collection. I like to try to incorporate different sounds that you may not expect to hear on a prog or rock record. I get bored easy, I want to hear something new!
This album hosts an impressive group of collaborators—Neal Morse, Simon Phillips, Tony Levin and members of Spock’s Beard. How did these contributions influence the creative dynamic and final shape of the songs?
I thought it would be cool to do some writing with Neal, so I flew out to Nashville and we threw down some ideas, a couple of which became the songs “in the shadow of the sun” and “I don’t want to travel time if it takes forever”. He was also kind enough to sing on those as well. My son John sent me a guitar track he had done and that became the song “make me real again” that he also plays guitar and drums on. Simon and Tony came in because we were thinking of who would be fun to work with, and their names were at the top of the list. We were really lucky to get them involved!
When writing and arranging these tracks, did you consciously differentiate the material from what you might create within Spock’s Beard, or do the ideas naturally fall into distinct creative “homes”?
I don’t usually think about what I want to do with the stuff I write, I just follow it wherever it goes. If it sounds like a Spock’s thing I’ll see if the guys are into it, otherwise I’ll do it myself or whatever. I never know where it’s going! You’re taking on lead vocals for most of the album.
How did you approach that role this time around, and what did you want your voice to convey within the overall narrative?
I wanted to sing on this record, there’s a more limited audience for instrumentals. I wanted to see if I could pull off singing lead for a whole album, and I think it came out pretty good, in my humble opinion. I just want my voice to convey the feel and the vibe of the song as much as possible. It depends on the song. I think the vocals on this cover a lot of ground, that’s just what my voice sounds like!?
Across your career, your guitar work has often balanced melodic clarity with a sense of experimentation. Did “So Many Words” allow you to explore new techniques or sonic territories you hadn’t touched before?
Yeah it was fun to be free to do whatever I wanted guitar wise! I gave myself lots of room to stretch out, and I think it shows. I had a lot of fun playing with different sounds. There is a guitar synth solo at the beginning of the last song, ‘behind me”. Came out really cool and different, not something I’ve heard before!
Your brother Neal appears on the album, and you’ve shared an extraordinary artistic history together. How does your creative chemistry evolve when the two of you collaborate today?
It’s always fun to collaborate with him, he always has lots of ideas! We’re very much on the same wavelength musically, so it’s fun to try things together.
Spock’s Beard remains a central chapter of your musical life. How has your work on this solo album intersected—artistically or emotionally—with the band’s present direction?
Well I was able to go some places on this record that I can’t do with spocks. There’s a lot of stuff I like that doesn’t fit with Spock’s, so it was fun to go to some different places.
Fans are eager about the band’s upcoming touring plans. Can you share anything about the live setup, the material you’re preparing, or how the band is approaching this new touring cycle?
Well we have a new drummer Nick Potters who is really amazing, you gotta come see him! We’re doing a pretty good mix of new and classic material, I think everyone will like the stuff we’re playing this tour, come see us!
Spock’s Beard’s catalogue has always thrived on intricate arrangements and emotional depth. Do you feel that working on your solo material has reshaped your approach to composition within the band context?
I don’t really think my solo stuff has much impact on Spock’s, it’s a separate thing. Both fun, but really different. When people buy a Spock’s record they are expecting a certain type of music, it’s fun to go someplace else sometimes.
Your career extends far beyond music: photography, digital art, electronics design, and even clothing design. How do these creative fields interact with your musical process? Do they feed each other?
It’s kind of a similar process for me – I just try different things and keep what I like, throw out the rest. It’s all about choices.
You’ve become known for your curiosity toward “toys”—from musical saw and theremin to various stringed instruments. Which unconventional tools found their way onto this record, and what drew you to them?
I played bouzouki, sitar, electric sitar, mandolin, penny whistle and cello on this record. I just like trying out different instruments and sounds, it’s fun and interesting.
The Psychlotron has fascinated festival audiences with its interactive nature. Has building such an invention influenced the way you think about sound, movement, and performance?
The Psychlotron is super fun, I hope you all get a chance to see it and play with it! I like it because it lets anyone create unique and beautiful things without needing any special skills. No computers or screens! Anybody can play!
From the early years of Spock’s Beard to today, Progressive Rock has undergone numerous transformations. How do you view the genre’s evolution, and where do you feel your work fits within that broader landscape?
Gosh it’s really hard to say where Prog is going! There are some amazing young players out there, can’t wait to see where they’ll take it!
As someone constantly engaged in multiple artistic directions, do you have a personal philosophy—or perhaps a daily creative routine—that keeps your ideas flowing?
I just try to write down or record any ideas that I get, you never know what might turn in to something cool. Just need to let it all come out, sort through it later!
Finally, with “So Many Words” poised to open a new chapter in your solo work, what do you hope listeners carry with them after experiencing the album from start to finish?
I just hope they’ll find something that’s cool, exciting and inspiring. I hope people have as much fun listening to it as I had making it!
“So Many Words” encapsulates everything that makes Alan Morse such a vital and enduring voice: technical daring, emotional openness, and a boundless curiosity that refuses to settle into predictable forms. As he prepares for a new season of touring, collaboration and artistic exploration, Morse stands once again at the crossroads of innovation and expression. His forthcoming album promises not only a celebration of his musical identity but also a glimpse into the endlessly expanding creative world that continues to define one of Progressive Rock’s most singular figures.
Purchase “So Many Words” on Bandcamp: https://alanmorse.bandcamp.com/album/so-many-words