Beardfish - Songs for Beating Hearts

Angry Metal Guy

It’s strange to reflect on more than a decade of servitude at AMG.com. It’s even stranger to think there’s only been one Beardish record in that time, considering that the decade before saw six of them. 2015’s +4626-Comfortzone may not have been the best progressive rock release in the last 10 years but it’s supremely enjoyable, if somewhat off-beat and irreverent. The close of 2024 sees the overdue renewal and return of the Swedish band, showing signs of a more mature outfit than we saw previously. Songs for Beatings Hearts is a warm reminder of one of the genre’s unsung heroes and the power of dissolution and then reformation.

It’s hard to review Beating Hearts without considering the multi-part “Out in the Open” suite that occupies most of side A. Take “Part II (Oblivion)”. On first listen it’s jaunty, easy-listening rock, but repetition yields surprising details and many instrumental layers. It sounds like music created on a slant given the band’s off-kilter approach. Beardfish make something that sounds simple but they do so in a complex way, thus rewarding repeated listens. Though few instruments used deviate from rock norms, they’re fused into a deep, textured Goldilocks zone between progressive rock, folk music, and blues. The band harmonizes distinct – and distinctly Southern-friend – grooves, acoustic pastoral edges, and expansive songwriting. There are shades of bands I know well, like Yes and King Crimson, but also shades of blues and folk bands with which I’m less familiar. All this is capped with Rikard Sjöblom’s croons. They’re pretty unique and immediately situate you in a Beardfish record with a warmth and expressiveness that fits the off-beat music.

Beardfish are also masters of mood; their music conveys emotion and feel so effectively. Just look to “Out in the Open: Part III (Hopes and Dreams)” and “Part IV (Oblivion Reprise).” The former represents a stark contrast to the preceding three tracks, using a sedate acoustic melody and colder vocals to strike a delicate but beautiful tone. The tracks wind slowly and carefully towards an apex that flowers into something warmer. Meanwhile “Part IV” returns to a jaunty bounce that has become the band’s signature sound. The jazzy bass, bluesy grooves, and layered vocals convey a sense of joy. This type of emotive shift is common across Beating Hearts, from poignant pianos on “Part I (Overture)” to grand synths on “Part V (Around the Bend).” It takes you on an engaging, unpredictable journey through the album’s 51 minutes, situating the listener in the band’s world. While the sophisticated compositions engage my brain, it’s the emotive control that engages my soul.

Taking “Out in the Open” in its entirety, it’s a long and varied journey. Breaking these 20 minutes into digestible chunks was smart because without doing so, it could have felt like too much. But outside of this multi-part opus, the other longer tracks (like “Beating Hearts” and “Torrential Downpour”) can feel scattershot and meandering, good though the music is. Fortunately, among this variety and length, there are numerous tidy riffs to provide the requisite hooks to distinguish and elevate each song. The bluesy lick played against the descending “Love can cure the beating heart” line on the title track is great, as is the hard rocking riff closing the album. But the best of the bunch has to be the lead on “In the Autumn”. It’s technical but soulful; intricate but emotive. But while the guitars are stronger than ever here, I find a relative lack of vocal hooks compared with Comfortzone to be a weakness. There are a few subtle earworms but it’s tougher to recall the choruses where the songs don’t prioritize the vocals as the melodic focal point.

I’ve struggled with scoring Beating Hearts. It feels like a strong 3.5 now but it’s grown from a 3.0 and might yet grow further to 4.0. It’s generally less focused and less hooky than Comfortzone, but it casts a powerful spell and will suck you in more over time. And while you don’t always look to a genre like prog rock for stellar riffs, this album is full of them. Beardfish have made the most of their revival, and I eagerly anticipate what more they can conjure.



Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: InsideOut Music
Websites: facebook.com/beardfish
Releases Worldwide: November 1st, 2024

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