Written: 26th October 2024
Formed in 2001 by multi-instrumentalists Rikard Sjöblom and David Zackrisson – soon to be joined by drummer Magnus Östgren and a year later by bassist Robert Hansen – Beardfish quickly gained a reputation for their virtuosic musicianship and innovative approach to songwriting. Inspired by the greats of progressive rock but with the mindset to explore a range of music ideas, the band established a loyal fanbase.
Having split, unexpectedly, in 2016, there came a time when the members started missing playing together. “I think the reunion became an idea in 2021, a few years ago,” explains Sjöblom. “We started talking about doing something and people had made amends. We all kept in touch, and things ended up on the right foot in many aspects, and then we started talking about maybe meeting up and trying to play something.” The result of the band’s reunion and their renewed enthusiasm is their ninth album, Songs For Beating Hearts. “Dude, it was straight off!” laughs Sjöblom. “I started writing new material and we started trying new material to play live straight away. We had almost a double album in the end!”
First track Ecotone is a contemplative reflection comparing life to the journey of a river with references to the flow of life, the inevitability of its course and the surrender to fate and the natural progression of existence. The ever present sadness / A companion of sorts / I almost named you after myself / But you are not of this world. Drenched in poignant wistfulness, it begins with sombre but delicately acoustic guitar. Occasional electric guitar flourishes add subtle textures to the piece as Sjöblom’s naturally graceful vocals – backed, at times, by a female voice - unveil the introspective lyrics. It is a restrained but beautiful opening to an album.
With only glimpses of the band’s love of progressive rock during Ecotone, Beardfish change that with a five part, twenty minute song entitled Out In The Open. The two minute Overture is alive with changing time signatures and opportunities for each member of the band to take the limelight. Insistent piano combines with complex bass lines, restless but inventive keyboards and the thoughtful percussive additions of Magnus Östgren. Serving its purpose wonderfully, it sets the mood for the rest of Out In The Open. Oblivion – the second part of the suite – initially formed around the rhythmic structures established in Overture and as the track develops, Sjöblom begins to stretch his vocal chords delivering a more intense performance than was necessary on Ecotone. This is further reflected in the musical approach of the band. David Zackrisson’s contributions are understated but incredibly effective, his guitar solo midway through the track full of bursting emotions. The keyboard solo is straight out of the 1970s progressive rock handbook but is completely at home in this environment. Lyrically, Oblivion finds the protagonist thinking about past mistakes and the repetitive nature of these errors. I will be there once we come around / Out of orbit, touching ground / There’s nothing left to be said / That we don’t already know / Come now, let us leave this place / Oblivion.
Out In The Open is a track of which the band are understandably proud. “I’m glad that we were able to pull off a twenty-minute piece,” says the frontman. “We needed to keep the prog alive! When I started writing it, it basically became about missing the other guys! It’s almost an ode to Magnus, David and Robert, although it’s not outspoken in the lyrics. We’ve grown up together throughout all the years, and part of you disappears when a band ends, you know? Another part of that song, I wrote for my children. It’s a song of love.”
The epic track continues as the last notes of Oblivion fade away and segue gently into Hopes and Dreams. Low distant synth chords create a backdrop for the gorgeous, bucolic acoustic guitar that runs throughout the track, with exquisite harmonies entwining and Rikard Sjöblom giving his most heartfelt performance on the album as he sings about his children, his commitment to pursuing aspirations and the enduring power of connection. Your souls live within me / The beating of your heart is mine as well / When you cry I feel what you feel. As Hopes and Dreams reaches its conclusion and redolent of something Marillion might create during their multi-part epics, there is a sudden change of instrumentation. Keyboards spiral and skip and we are led towards the fourth part of Out In The Open - Oblivion (Reprise) - and we are returned to the world of 1970s. With the two parts of Oblivion bookending Hopes And Dreams, it more than demonstrates Beardfish’s masterful handling of both the fragile, pastoral and the innovative, more detailed elements of their music. The quartet complete Out In The Open with the instrumental Around The Bend, during which Magnus Östgren appears to visit every single part of his kit. It is not surprising that Beardfish should point to Out In The Open as a key track on the album, after all, it takes up a third of the running time.
Not afraid to challenge listeners with another long track, Beardfish move immediately from Out In The Open to the eleven minute Beating Hearts. Multi-faceted, elegantly crafted and composed, it draws the listener closer with each passing moment. Beginning with thirty seconds of interweaving strings, the track explodes suddenly with dissonant guitar and keyboards that bring King Crimson to mind. After another minute, the instruments fall away to reveal quick acoustic guitar before the track settles into its groove. Changing approach at several key points, the song keeps the listener guessing. During the second half, Sjöblom really lets rip with the most charged vocals on the album. In memories passing like and old and flickering lights / I have no fear this time / Don’t let them know I cried. Shorter, more immediate and well positioned after two lengthy songs, In The Autumn – which definitely has tinges of Led Zeppelin – is a duet with Amanda Örtenhag and adds another layer, exploring musical territories not yet visited on the album.
Following a short instrumental reprise of Ecotone, the eight minute Torrential Downpour ends the album in style (a fun bonus track – a 1980s inspired instrumental version of Ecotone - aside). There is something of Mark Knopfler about the guitar motifs and the track soon settles into a beguiling rhythm. On what is certainly a contender for the best track on Songs For Beating Hearts, Beardfish (and Rikard in particular) lay their hearts bare. He explains: “I lost my dad to cancer in 2022 and when this song was written, there was something I couldn’t quite put my finger on, but it felt almost like a lament. When I later read the lyrics I realised it was about him, but also about family and our heritage as humans in general. Suddenly it’s not just a lament for someone who’s dead, it’s also a celebration of life.” After six compelling minutes, it appears the track is about to end but we are then treated to the celebration to which Sjöblom refers. A defiant but joyous, vibrant coda that finishes the album with positivity. Don’t cry / Everything will be alright / We see you / We hear you / We feel you / We’re always here / And we love you / Always.
Harnessing their love of progressive rock but imbuing it with enough variety, the Swedish quartet have produced an album that will appeal to long time fans and no doubt attract new fans to their cause. With a deep emotional resonance and exploring themes that listeners will relate to, Beardfish have not been afraid to express their feelings and innermost thoughts through the evocative lyrics. Songs For Beating Hearts sits comfortably in the band’s discography and what is clearly apparent is that the band are having the time of their lives being back together; there is an undeniable feeling of unity throughout the album that long time fans will treasure. With Songs For Beating Hearts, Beardfish have more than justified their decision to return.
Songs For Beating Hearts is released on 1st November 2024.
BEARDFISH online:
Comments