SONGS FOR BEATING HEARTS

Throughout the 2000s and early 2010s, Beardfish were one of the most notable bands to come out of the burgeoning Scandinavian prog scene. Their music was melodic and usually pretty fun. Quirky vignettes easily mixed with more contemplative pieces, and they always incorporated a wide variety of influences. Sleeping in Traffic: Part 2 is one of the best prog albums of the 2000s, and it highlights all their strengths. They disbanded in 2016, and vocalist Rikard Sjöblom set out on a solo career.

Nine years after their last album, the cumbersomely-titled and somewhat uneven +4626-Comfortzone, Beardfish have reunited and recorded a new album. For as diverse as their records could be, Beardfish has a recognizable sound, and they largely stick to it.

Songs for Beating Hearts opens with "Ecotone". Echoing guitar lends it an ominous air, but hope creeps in. Sjöblom's songwriting has always been good at balancing warmth and anxiety, and this folk-tinged cut is a solid opening to the record.

This opener leads directly into the 5-part, 20-minute "Out in the Open". Jumpy bass and piano start things off on an exciting foot. Squeaky synthesizers add some fun texture, and jazz touches are apparent, too. Sjöblum's voice has never been my favorite, and the opening verses of this suite are especially iffy. Thankfully, the vocal is paired alongside emotive and melodic instrumental passages. Things remain tense as plinking organ and watery guitar build a unique soundscape.

Moving into this opus's third part, things get pared back. Warm acoustic guitar, gentle and multilayered vocals, and cozy synth pads build a dreamy atmosphere. It can verge on being overly-sappy at moments, however. The band smoothly reincorporates prior musical ideas as the song builds up some pep and momentum. The conclusion features exhilarating organ lines and a sense of buoyancy, elevated by stuttering, oscillating synthesizers.

A string quartet kicks off "Beating Hearts" with a distinctive bit of chamber music. Abruptly, fuzzed-out guitars crash in, and folk flavors enter at the beginning of the first verse. Things move and evolve quickly. Beardfish songs (like most rock songs) will usually focus on a small number of ideas that complement one another, but this sprawling, 11-minute piece sees them venture all over the musical map. I really like their adventurousness here.

"In the Autumn" features an opening guitar passage that evokes certain medieval-influenced classic prog acts, like Gryphon or Gentle Giant. Unfortunately, the verse is clunky and hokey, and the guest vocals just don't work. The deliveries are all overwrought and unnatural. The instrumental moments of this song are fine, but the verses really undercut it.

The album's closing track, "Torrential Downpour", has a rolling, slinking rhythm that would make it a solid addition to the soundtrack of a Western. The guitars have both twang and bite, and fluttering Hammond organ adds great contrast. Jangly folk flavors emerge in the second half, and there's some nice instrumentalism. Things do drag on for longer than they need to, however.

The digital version of this album features the bonus track "Ecotone - Norrsken 1982", an electronic reimagining of the opening cut. It's fine, but there's clearly a reason it's just a bonus track.

Beardfish's return to recording has resulted in an enjoyable release. If you like their prior output, you'll probably like this, too. I wouldn't label this as essential listening by any means, and if you're just getting into Beardfish, there are better entry points (anything they put out 2007-2011). If you're looking for lightly-hard-rock-flavored and highly melodic progressive rock, though, you'll probably enjoy this.

Review originally posted here: theeliteextremophile.com/2024/11/21/album-review-beardfish-songs-for-beating-hearts/