Duncan Glenday
11-08-2012, 10:33 PM
http://www.progressiveears.com/clubpics/BFVoid.jpg
Gert Hulshof's Review http://www.dprp.net/reviews/201246.php
With The Void, Beardfish from Sweden have released their seventh album with Rikard Sjoblom once again delivering most of the material.
After I put the CD in the player and started listening at first I thought I was listening to the newest outing of The Tangent when hearing Andy Tillison's voice speaking of a wizard looking into the future. I didn't know that Andy was asked for the opening lines, after a second glance at the CD I was reassured it was indeed Beardfish.
http://www.youtube.com/watch?feature=player_embedded&v=B3Ylnewb3Ic
Putting in the CD once again, the introduction made me flashback to I believe 1967 (or 1978) to a band called Procol Harum and their song In Held 'Twas In I. I was struck by the intonation in Tillison's voice speaking at the same level as that intro. Enough said on the introduction only leaving that this also made clear to me The Void as an album had to be a conceptual one.
Voluntary Slavery the first real song then makes you wonder if this new album is a heavy progressive album and Beardfish have changed some of their styles once again. Listening carefully to the song all the trademarks making Beardfish the band they are, are all present. Voluntary Slavery no doubt is one of more heavy, raw sounding songs Beardfish have ever done, with growling and grunting, and all still it remains true to the Beardfish standards.
The song-writing style of Rikard is of an autobiographical nature; the mood he is in comes back into his songs and as a musician making use of what music is. Guitar and then more specific heavy riffing guitar appear to be dominating on this album.
Still in Seventeen Again an instrumental song Beardfish become very Jazzy from the start with a piano piece, almost no guitar is heard, after this the piano becomes organ, organ and guitar then continue in battle with the most beautiful sounds. Seventeen Again really is all over the place musically speaking. Becoming carnival-esque, then again sounding like the guitar/organ battles of earlier Prog from the seventies. Certain bits and pieces of the melody seem to re-appear everywhere in a different form.
The title Ludvig & Sverker made me frown a bit, was this going to be a song sung in Swedish or was this just the name of the song? In fact it's the latter. Ludvig & Sverker is a Beardfish ballad in optimum form, sung gently as to really let the listener know the delicacy in the lyrics. A joy to the ears.
The overall setting on The Void is dark and moody, the music and lyrics really do compliment each other. The Void is not as it appeared at first listen, a heavy progressive metal album, it is a varied album where heavy and raw sounds dominate to reflect the setting of the album, all of this is demonstrated best in the inevitable epic song Note. A fantastic piece of musical and lyrical craftsmanship.
The Void is a concept yet all the tracks can be listened to separately, although preferably in one session from beginning to end. The songs however are not tagged together so a break is possible, otherwise you are in for a 69 minutes long progstavaganza.
Album number seven for Beardfish is once again a great album, it will not appeal to us all, and it most certainly is of a very high standard and will draw new fans towards Beardfish. They are an exceptional band making fantastic progressive rock.
Gert Hulshof's Review http://www.dprp.net/reviews/201246.php
With The Void, Beardfish from Sweden have released their seventh album with Rikard Sjoblom once again delivering most of the material.
After I put the CD in the player and started listening at first I thought I was listening to the newest outing of The Tangent when hearing Andy Tillison's voice speaking of a wizard looking into the future. I didn't know that Andy was asked for the opening lines, after a second glance at the CD I was reassured it was indeed Beardfish.
http://www.youtube.com/watch?feature=player_embedded&v=B3Ylnewb3Ic
Putting in the CD once again, the introduction made me flashback to I believe 1967 (or 1978) to a band called Procol Harum and their song In Held 'Twas In I. I was struck by the intonation in Tillison's voice speaking at the same level as that intro. Enough said on the introduction only leaving that this also made clear to me The Void as an album had to be a conceptual one.
Voluntary Slavery the first real song then makes you wonder if this new album is a heavy progressive album and Beardfish have changed some of their styles once again. Listening carefully to the song all the trademarks making Beardfish the band they are, are all present. Voluntary Slavery no doubt is one of more heavy, raw sounding songs Beardfish have ever done, with growling and grunting, and all still it remains true to the Beardfish standards.
The song-writing style of Rikard is of an autobiographical nature; the mood he is in comes back into his songs and as a musician making use of what music is. Guitar and then more specific heavy riffing guitar appear to be dominating on this album.
Still in Seventeen Again an instrumental song Beardfish become very Jazzy from the start with a piano piece, almost no guitar is heard, after this the piano becomes organ, organ and guitar then continue in battle with the most beautiful sounds. Seventeen Again really is all over the place musically speaking. Becoming carnival-esque, then again sounding like the guitar/organ battles of earlier Prog from the seventies. Certain bits and pieces of the melody seem to re-appear everywhere in a different form.
The title Ludvig & Sverker made me frown a bit, was this going to be a song sung in Swedish or was this just the name of the song? In fact it's the latter. Ludvig & Sverker is a Beardfish ballad in optimum form, sung gently as to really let the listener know the delicacy in the lyrics. A joy to the ears.
The overall setting on The Void is dark and moody, the music and lyrics really do compliment each other. The Void is not as it appeared at first listen, a heavy progressive metal album, it is a varied album where heavy and raw sounds dominate to reflect the setting of the album, all of this is demonstrated best in the inevitable epic song Note. A fantastic piece of musical and lyrical craftsmanship.
The Void is a concept yet all the tracks can be listened to separately, although preferably in one session from beginning to end. The songs however are not tagged together so a break is possible, otherwise you are in for a 69 minutes long progstavaganza.
Album number seven for Beardfish is once again a great album, it will not appeal to us all, and it most certainly is of a very high standard and will draw new fans towards Beardfish. They are an exceptional band making fantastic progressive rock.