+4626 - COMFORTZONE

Hello progheads! It's my first review here on progarchives, so i hope it don't suck ;) +4626-Comfortzone was the first album that i have the pleasure to listen from this amazing band, so, my review will be made only based in this album, whitout influences from their previous releases.

Amazing, is the only word i have to describe it, it's a great album, with such amazing tracks like "Hold On" (the first track i've listened of them" the magnificent epic "If We Must Be Apart (A Love Story Continued)" and "Ode To The Rock 'n' Roller" with references of previous tracks and a litle critic to the scumbags close-mindeds rock music fans. The soft "The One Inside, Part Two - My Companion Through Life" is another of the highlights here. The album is a great combination of classic Ecletic Prog bands like Gentle Giant (and a bit of Zappa influences) with some heavy tracks like "King" and the great "Daughter/Whore". But what really amazes me is the harmony between the instruments, everything is clear and placed exactly where it should be. It's basic, just guitar, bass, drums and a keyboard here and there, but together it works really well. Congratulations to the band, probably one of the highlights of this year.

9,5/10 4,75/5

**I'm a non-english speaker, so i'm really sorry for eventual mistakes of spellig and coherence.

+4626-Comfortzone

I've been a Beardfish fanboy since I've meet them on 2007. Through all this time the communion and understanding of the records and styles have been a happy relationship of great magical records (some more than others). But this one is just O.K.

Don't misunderstand me, is an actual really good job, conceptually is even better than the later 'The Void'; is just that there's a lack of magic. The sound is more young-adult oriented, which made the cohesion a little bit harder to receive.

True, there are wonderful moments since the very beginning with a symphonic introduction of the album concept, followed by a brighter and Yes-esque 'Hold On' ―even the name―. The main piece has too many non-prog elements; the voice has at times a softer tune, still, surprisingly, works very nice, balancing modern colors with the actual progressive harmony all over the road. 'Can You See Me Now?' along with 'King' are the real slackers here. The first one is pretty slow and plain while the later, if a little more vibrant is still plain.

Then the second part, sort-of-interlude, of 'The One Inside' revives atmosphere with a magnificent acoustic guitar in an almost mid-west folk style, working as a continuity as a separation among sections. Remaining onto the harsh mood, there is nice blend in 'Daughter/Whore' some kind a filler, but a good filler after all.

Epicness have to be named 'If We Must Be Apart (A Love Story Continued)' and here is what elevates the whole album; a strong, melodic, haunting, complex piece, historically related to their second record and their magical opening song in this. There are moods variations and an introspective tune atmosphere running through the entire song. Here again got also a mix of influences, past and present (maybe future) whisked together, and among those influence are themselves for once, even though the 'first part' of Love Story is not musically related ―in this area their connection is more related to Sleeping in the Traffic― we find that the story is, and the line of the characters in such story going a little while after the remaining point into their own consequential struggles. The climatic conclusion is much more calm and conclusive than the chaotic predecessor as in a self-indulgent closure.

'Ode to the Rock'n Roller' is another not-so-fit song. Again, don't misunderstand me, it is pretty good, melancholic, vibrant, jolly song and actually every piece works pretty good apart, is the blending what doesn't feel entirely right, that's a big problem when you talk about concept album. The track is here, its sounds fantastically, feels good and everything but somehow doesn't work entirely. The closer track, third part of 'The One Inside', announces a farewell in a dramatic yet charismatic tune, a clear bound among listeners through the album and the band. We gratefully has reached the end of the trip and not everything has been great, as most journeys come to be, but in the end the lot became a really nice experience you could repeat any other time.

Still not the best work of the band, is a merry reminder that thy comfort zone is not necessarily a bad thing, in fact could be a really good thing.

What I've always liked about Beardfish is that they often forgo the symphonic overkill in favor of good old (but long and sometimes loud) soul-infused rock'n'roll. A basic sound - two guitars, bass, drums and a moog or an organ joining here and there. All crystally clear and audible in the mix, which I much prefer to a wall of sound.

Beardfish have always been crowd-pleasers, and while there is much here to sing along to (The One Inside main theme, the monstrously groovy sections of Hold and Love Story), the songs are often quite tricky, changing and jam-like.

And it's sad and angry Beardfish. No erstwhile polkas and jazzes in the Comfort Zone. Just a trace of the familiar beardfishy quirkiness on Ode to the Rock'n'Roller. A part of me misses the old quirky Beardfish.

As a Beardfish and longtime prog fan, this is one of those neat albums that grabs you all along and grow with every listen even more and more. This is for me their second best! so much good prog in it!

For me, I think these guys gives us a good modern era prog that a lot of band labeled as "prog" don't gives us anymore, THIS IS A GOOD ALBUM GUYS, a very good one that will keep along the history of prog of our era.

The good things this album have is the major and varied influences that it has. In the title track you can encounter a mix of old prog and modern stuff influence on it. Example: I can hear DT's Octavarium on that intro, inspired initially in Pink Floyd sound, I can even hear Spock's Beard's Snow references in there too, Gentle Giant and even more modern acts like "Minus The Bear" things in there, that they shine with the guitar production in their records, and I think Beardfish took and liked that approach.

However, throughout the whole album you can pick point a lot of proggy references, and of course unique passages and sections unique and signature of the band. Totally recommend this album, the good thing is that without fear I can recommend it to lot of people that are not specially "proghead" like me.

They originally were just going to call this "Comfortzone" but they thought they'd make it a little more personal by putting the area code of their home town in Norway in front of it(+4626). This is a concept album about the negativity of being comfortable. One of the band members said that Comfortzone is that invisible protective suit of negative thinking. So it can be in relation to staying in your home town your whole life, or staying in that relationship or job that just isn't good for you but it's comfortable so you stay in it. The surreal cover art depicts someone who lives on a lonely planet with Earth off in the distance.

They've certainly scaled back the heaviness that was strong on the previous album("The Void"). It is quite a wordy album so it's taken some time to grow on me, and there are some rather vanilla parts. Still these guys have created another solid album even if it is right now my least favourite of the seven studio albums that I own by them(I don't have the debut). There are so many beautiful melodies on here and the lyrics are always a strong point(love the sarcasm and humour) with this band. And this is still growing on me so who knows where it will end up as far as my favs go by them.

"The One Inside Part 1: Noise In The Background" is a short intro track of less than 2 minutes in length. I like how this sets the album up with the spoken words, and the strings are a nice touch. "Hold On" has such a great sound to it to start with the guitar and bass especially. Vocals before 1 1/2 minutes with intricate guitar and a beat standing out. This is a catchy track with some uplifting sections.

"Comfort Zone" opens with atmosphere as the guitar, a beat, mellotron and more takes over. I really like this. The guitar work reminds me of Randy Bachman at times. Vocals, keys and a calm 2 1/2 minutes in. After he sings "Death walks behind you" we get an uplifting instrumental section. Vocals are back quickly though. The vocals are more passionate 5 1/2 minutes in, and then that Bachman-like guitar is back before 7 minutes. Check out the prominent bass as well. Nice. "Can You See Me Now" is a catchy and upbeat song with clever lyrics. "King" is one of my favourites. I like how heavy it is and the humour too. It's pretty intense 4 minutes in and it ends with spoken words and some killer guitar. "The One Inside Part 2: My Companion Through Life" features picked guitar and some really beautiful melodies as the vocals join in.

"Daughter/ Whore" is a barn-burner with some massive opening bass lines. Passionate vocals here as well and check out the guitar solo after 3 minutes in the incredible instrumental section that follows. I like how the vocal melodies cry out here too. The vocals are back before 5 minutes. "If We Must Be Apart(A Love Story Continued)" sounds amazing once it settles in. We even get some clapping. Too much fun here. After 3 minutes it sounds like a stadium full of people. It's so catchy a minute later, just a great tune.

"Ode To The Rock 'N' Roller" is the longest song by far at 15 1/2 minutes. Organ, bass and a beat start us off and this all sounds so good after 1 1/2 minutes. Man that bass is crunchy. It settles with picked guitar and vocals only before 3 minutes then the organ and drums join in. It's heavier after 5 minutes before settling back and it's so uplifting 7 minutes in. I like the section beginning before 11 minutes with pulsating keys, drums and vocals. A calm with organ follows then it kicks into gear again. The last 1 1/2 minutes are mellow. "The One Inside Part 3: Relief" is the laid back closer that has a feel good vibe to it.

I think it's kind of ironic that the music of BEARDFISH is comfort music for me. I think what they are trying to say is that I should move on to music that takes me out of my comfort zone(haha). A really nice album, in fact these Swedes have carved out a very good career for themselves and I for one want to thank them for all the great music.

I have spent most of my life listening to prog and am proud to know both the origins of the style and today's bands. Being such an unique and demanding style, one could be tempted to dismiss newer or different approaches to what the founders of the style did back in the late 60s and early 70s. But if one thing that hasn't changed much is the inclination for innovation that prog rock has kept. This being said, few bands can showcase this as Beardfish can. Having had a long career by today's standards, they have done a marvellous work with their latest and final album +4626-Comfortzone.

Not only is Comfortzone a conceptual album in its essence, it is also a perfect blend of prog with a more rock and roll feel. If we were to dismiss the lyrics of these fine tunes, we might find ourselves listening to a perfectly enjoyable and suiting prog album, but that would to no justice to the musical pieces that these accomplished musicians have put forth - indeed one could say that, if anything, this is the perfect farewell album, with its depressive and somewhat defeatist implication of its lyrics.

Technically wise, its a wonderfully recorded album. It won't shine for its technical prowess when compared to Rush or Dream Theater, but it will still catch the attention of those who disdain the repetitiveness and predictability of regular rock, while adding great instrumental sections and fitting solos to atmosphere driven musics that fit perfectly in a larger musical narrative.

There are few albums that I consider as accomplished as this and while Prog Archives does not allow for a 4.5 rating, I can state that his album is surely above a regular 4*. If anything, I regret that we won't be hearing from Beardfish in the future, as there were few bands that delivered consistently good albums as these guys.

I absolutely recommend a few hearings of these guys, especially for those who are bored or disenchanted with symphonic prog or psychedelic rock, as this album is the perfect showcase for what lies on the other side of the spectrum.

I recently got into the music of Beardfish and I'm quite surprised by the lack of attention this final album has gotten. The mixture of styles on this album is just great, as well as the natural recording sound. You can hear endless references to groups in these track; both from the progressive rock (King Crimson, Supertramp, Gentle Giant) and heavy metal tradition (Blue Oyster Cult, Voivod, Thin Lizzy). The album does not feature those very heavy gritty metal songs of 'The Void', of which I can understand the controversy among fans. The album is however heavy, gritty and punchy enough to distinguish itself from other retro-prog groups. An all over the place retro-prog-metal track like 'Daughter / Whore' is great fun. The title track 'Comfortzone' is a great moody piece that evokes some King Crimson with a great thick Fripp-style melodic lead guitar. The brilliant main vocal melody helps to give this album a 'classic' feel. 'The One Inside'-parts evoke a Kansas type melodic feel ('Dust in the Wind') without any cheesiness. 'If We Must Be Apart' is a fifteen minute epic that is what you'd expect from Beardfish; a mash-up of all their progressive influences, yet no re-arrangement of known prog clich's. Its actually quite accessible as well. 'Ode to the Rock 'N' Roller' is the mandatory not-so-great song that every Beardfish seems to have, but since the first three sides of the 2LP are simply great I'm still left with enough album to call essential.

A fantastic album and the perfect way for the currently-extinct Beardfish to bid farewell after a not too long but fruitful enough career. This Swedish band has managed to become an underground prog rock phenomenon for their sixteen years of existence; unfortunately, Beardfish is also a band that is virtually unknown in the mainstream.

The 'classic' line-up of the band (which happens to be the line-up appearing on every single album they have released), consisting of Rikard Sjöblom on vocals, keys and guitars, David Zackrisson on guitars, Magnus Östgren on drums, and Robert Hansen on bass is rocking out in perfect shape on this 2015 release. '+4626-COMFORTZONE', originally planned to be named just 'Comfort Zone' might be the hidden gem in the Swedes' discography, somehow standing in the shadow of albums like 'Mammoth' or 'Sleeping in Traffic: Part Two' but no less spectacular. In fact, I consider this record one of their most musically diverse releases, encapsulating simultaneously the musical values that they have displayed throughout their career, and the plethora of influences on their sound (such as King Crimson, Genesis, Yes, Pain of Salvation, Deep Purple, and who know what more!). An interesting moment is the addition of the +4626 code which happens to indicate the zone in Gävle, where the band had been formed.

Not necessarily a concept album but an album that focuses mainly on the themes of comfort and relationship, which are explored in various ways throughout the record, '+4626-COMFORTZONE' contains some of Beardfish's greatest moments, in my opinion, namely the title track, the three-part split suite of 'The One Inside', the 15-minute epic 'If We Must Be Apart', or the heavier 'King' and 'Daughter/Whore' that contain friendly nods to the band's previous album 'The Void'. It is this mixture of straight-up prog rock songs with Fripp-style lead guitars and lush keyboard ventures, heavier riff-oriented songs, and more atmospheric, personal tracks that make this album so great and captivating.

Misleadingly labeled 'retro prog', Beardfish is one of the Scandinavian prog bands that actually have an original edge and a strong musical personality. They surely wear their influences on their sleeves but also smartly incorporate them with their tendency to go for really heavy guitar-based songs on some occasions, quirky passages on others and humorous narratives with painfully relatable characters.

The sound is quite organic and the album is mixed in a very professional way, so that all the sounds unfold themselves gracefully. The compositions are well-conceived and masterfully played, with memorable melodies and great lyrics (And I would dare to call this one of their most sing-along albums!); Moreover, this might be Rikard's strongest vocal performance on any Beardfish album, displaying his full range of capabilities. And with risk of repeating myself, I shall conclude with the statement that this is a very, very strong release and a tremendous exit for a very important modern prog rock band from Sweden.

Confortzone is the eighth and last (to this date) studio album by the very interesting and unique Swedish #eclecticprog band #beardfish and arguably their most accesible of their catalog? Maybe, but if so then it has to be attributed to the desegregated beautiful melodic moments that seem to come and go throughout the whole album, because besides that it has all the ingredientes to be just that, an amazing Eclectic #progressiverock band.

The One Inside - Part 1: Noise in the Background opens with the lyrical narrative of the concept before the first melodic hook appears in the form of keyboards and strings (or more keyboards sounding like strings, with Rikard Sjöblom you never know!)?precious

Hold On kicks in with funky heavy bass lines and very catchy finger riffing that gently evolves into the mellow and modern symphonic structure. There are some references to Jethro Tull at points, and some of the other usual suspects, very smartly integrated into their unique proposal, playful and memorable music.

The title track Comfort Zone invades with the 2nd important hook of the album but this time through opaque and drowned guitar licks slowly covered by more keyboard layers, impressive rhythmic section and even some classic piano, all the ingredients present. Pop-like eclectic prog at its best. Death walks behind you?

Can You See Me Now is a cool song, with hints of #theflowerkings at times, maybe even more theatrical and uplifting but I can definitely feel some connection here.

King presents a different musical approach, more metallic and melodic, even angry at points but softened with the guitar harmonies and some falsettos here and there; Come where I've been chosen king, I will teach your tongue to sting! Voila!

The One Inside - Part 2: My Companion throughout Life serves its purpose of interluding the two metallic (and somehow off concept tracks) with a hooky acoustic reminder of the title track. Cool song

Daughter/Whore is maybe the song that got me less interested since the first listen, and is not actually until writing this review that I can say is not a band song, not a great one either, but would definitely feel much better within a different group of tracks, it has some high quality moments like the wonderful guitar harmonizing, but it just doesn't do it for me, It took me out the #comfortzone

If We Must Be Apart (A Love Story Continued) always brings my attention back to the album, I really like the symphonic first seconds, and how the fat bass kicks in, and the enchanting keyboards, from the narrated story with the acoustic guitars as primary atmosphere, to the angry and tempting #progressivemetal discharge, I cherish this song as one of the highlights from the album.

Ode to The Rock n' Roller shows the satiric and humorist side of the band, a pop-like complaint about everything surrounding the music industry, at least that's my interpretation.

And then The One Inside - Part 3: Relief. The closer for the album and its concept, with an immediate late grunge/Alternative rock frame but maintaining the epic ending to wrap up the trip. A highly recommended album.