Showing posts with label Beardfish. Show all posts
Showing posts with label Beardfish. Show all posts

Wednesday, 11 February 2015

And The Stone Said: "If I Could Speak" (Beardfish, 2011)

Great epic, this one, taken from the album "Mammoth". Vintage instruments, as usual with Beardfish, but also a fresh air and a free inspiration, something you won't always find in contemporary prog bands. Johan Holm's guest saxophone adds a Crimsonian or even VDGG edge to this track, in which an old prog lover can find many other golden era influences. The final result, however, is a coherent and original rough sound, with all the tempo changes that a long track needs to keep the listener's attention truly awake.

"Mammoth" was the sixth studio album by Beardfish. 

The sung sections have a strong melodic line, and Rikard Sjöblom's voice is very, very good. The instrumental passages are full of interplays, so you'll also find an impressive wall of sound circa minute 11:00 and even an almost metal moment towards the end of the song. All in all, I like each and every moment of this song, one of my favourite ones by these Swedish musicians. Hope you'll like it too.

Saturday, 23 November 2013

Roulette (Beardfish, 2007)

This long and diversified track comes from Beardfish' album "Sleeping in Traffic Part One" and it's the longest and most challenging one. Starting with a vintage wall of sound, it offers a big deal of styles and moods, building up a very original sound. These Swedish musicians love good melodies (and so do I) and love to arrange them in delicious plots and this song is a perfect specimen of their skills. It's a kaleidoscope of rythms and tunes, an inlay of tempos and moods, so that I can frankly state that this is one of the funniest and most intriguing songs
 
This was the third album by Beardfish.
 
I've ever listened to. Some of the vocal harmonies remind me of Gentle Giant, but in a easier way, and there's a strong reference to popular dance music too, something rather unusual in a prog rock track. A special mention goes to Rikard Sjöblom's keyboards, gathering a wide range of effects, such as a beautiful electric piano or a surprising accordion. Listening to songs like this one ensures that prog is not dead (nor dying).