DESTINED SOLITAIRE

Let's make it short and jump right into the tracks. This I wrote as I listen to it for the first time, so this review is quite a experimental.

First one, "Awaken the Sleeping" can remind their last two albums with its name. Similar theme, but as far as I can hear, it has nothing much similar. Little bit crazy, instrumental song with good 10sec (my term for first sounds on first track which are important, at least for me). It fades slowly into silence. After few listens it reminds me "Cashflow" in some ways.

and "Destined Solitare" begins with heavy sound, heavier than in last album's -South of the Border". I feared the repeating of old themes, but I'm quite surprised. In a good way of this word, it offers even word "[%*!#]ing", I have to mention that this band don't use these words at all, till this case. Not so melodic, somewhat darker sound. I have to say that I'm not translating lyrics at the moment, so they can be quite irritating. Or very well written, it remains mystery for now. This track also contains nice guitar work, nice solos (not Han Solos). Oh my god, this vocal on 4:50 is like death metal growl. This blows instantly into *As LiquidEternity pointed out, they had S-word

"Until You Comply/Entropy" which contains singer's nice and clear vocals supported by keyboard which are strong here. And another F-word here, it's like purpose. Oh, they are playing with this word. Nice try, it works well. Well, this "Entropy" thing starts with fast waltz rhythm, that it sounds like circus music. But where are drums ? They disappeared for a moment. I almost lacked the waltz time signature from last album. And now it's here again, is this becoming band's tradition to use this ?

"In Real Life There's No Algebra". Well, bye bye brain as lyrics are saying. Song full of crazy words, that for Frank Zappa influence. Of course, I can't get these lyrics as Englishman can, but they're interesting for sure. When talking about musical style, it's kinda fast and quickly changing. Yeah, monkey see - monkey do. It's hard to switch off the brain, but believe me, you're gonna need it for this song. To fully understand it.

"Where The Rain Comes In" can't be taken literally. Well, imagine remote house in wilderness, you sitting near window and then opening it and watching raindrops falling on floor. Now forget all of this, this song is nothing like this. Only when you close your eyes and fade slowly into story. One can't take this band seriously, because of their all-time-present craziness. No offense, I like it. But you can't take this song as (for example) old fashioned love songs. The more you listen to it, the better for you. Now I feel I'm part of the story. Very pleasant song. Slow and gentle. You're gonna love it. Of course, it also have everything you expect from prog rock. Mellotron is so fine.

"At Home, Watching Movies" (I'm at home, listening Beardfish), is this supposed to be some kind of interlude ? They are offering some guitar work with lyrics (which contain word "rain" again, maybe there's a connection)

"Coup de Grace" has wonderful accordion tune. When I hear this instrument, I imagine France. You know what I mean, this tango thing connected with Paris. How the hell are they doing this, how they can blend so many things together and still sounds good. In fact it would be nice to be killed by accordion (I imagine full penetration of body organs, something right under ribs, something like being nailed), while listening this song . Except this acc. sound there's, for Beardfish typical, weird (really creepy) keyboard sound. Hard to describe.

"Abigail's Questions" is probably the strangest track here. After some words with Rev Mr. LiquidEternity (hello and thank you for encouraging me at all), we came to conclusion that they have something similar. Cut from message: ///They begin with similar style of playing, even Beardfish offer it later. It's this unmelodic change of tone, Abigail is more melody like. But in the end of Abigail there is this voice saying science things. It's very similar to thing in Inca Road. But of course, Abigail is still interesting, more targeted to vocals, clearer guitars playing more melodic music and also instruments are different. Conclusion: I think these tracks share similar things, but I see Inca Road as a perfect example of inspiration, no plagiarism. What do you think ? /// Another thing came into my mind, it's probably the best approach to science by prog music that I know. Maybe "that is existing"-

But with last track, I'm really puzzled. After perfect album I get average song with not much to offer (in contrast to rest of songs). Normal track, better average. But it's so average, that you can't tell for sure what it means at all. As some wise man said in past (about some album), it has all ingredients of good prog (Beardfish) song, but it's not perfect.

But except this one, it's masterpiece. 5ive stars (in true Beardfish playful style)

5(+), I'm still stunned, even two months ago. Also, I first just rated this and then wrote a review, so this is why I'm at first place. I wrote half of this review at the end of July, then I completed it in August.

Hello, the first Collab to write a review? Ok, get THIS!

I like BEARDFISH. Their music, their attitude, even their name evokes positive feedback from me. But seriously, they need a break. The first LP was almost perfect, high-class Retro-Prog with obvious Heavy Psych touch, but the further BEARDFISH goes the less balanced material they release. The second part of "Sleeping in Traffic" was a crying example of material's incosistence: from throw-away seqeunces to the jewel of eponymous epic. The new one from BEARDFISH shows the same problem, but even more: it's enjoyable while you're playing it, but when you turn your player off, your head is empty. It's not like Prog must be the same way catchy as Pop does, but hello, where have all the songwriting mastery gone? From the first spin I remembered only the Algebra Song and the Accordion Instrumental, and I guess most of listeners too (2-3 tracks, not more). When you're making a 76-min long album, you should be aware of issues like this, shouldn't you? Anyway, it's good, I loved it, but BEARDFISH should not put quantity over quality. Recommended

It was with anticipation of great things that I first listened to the new Beardfish album Destined Solitaire a week ago, Sleeping In Traffic Part 2 having been in my top 5 favourite albums 0f 2008. I've sat on it for a week without reviewing it for the simple reason that at first I was a little under whelmed by it. Surely Beardfish couldn't produce something so mediocre? Well it was worth persevering with as Destined Solitaire is a grower that slowly reveals its charms with repeated listens.

All the Beardfish trademarks are in place, the quirky instrumentals, they still sound like they came from the seventies, partly down to their organic production; no processed sounds here and their choice of instrumentation. The Hammond again features heavily and the guitar, bass and drums sound natural. You can imagine the sound you are hearing is the sound coming out in the studio before being recorded. As well as the symphonic touches the Zappa influences are still highly prevalent, particularly in the phrasing of some of the vocal lines and there's still that quirkiness to their sound that makes them sound like...er...well Beardfish actually. There's even a bit of funk thrown in for good measure. Yes there's nobody quite like them and are well placed as eclectic prog.

So why the initial hesitation in liking it? Part of the problem was there's so much music on here to digest lasting 77 minutes and its not as immediate as the past couple of albums, the melodies aren't as obvious, you have to dig a bit deeper for them. It's also more complex than anything they've done before but after 7 or 8 plays it proves to be an excellent record.

Most of the tracks are fairly long, around the 10 minute mark which gives them plenty of space for lots of instrumental moments. None better than title track Destined Solitaire with more twists and turns than a maze but augmented by a great vocal performance from mainman Rikard Sjöblom apart from the 4 lines of death metal vocals! Ah but this is Beardfish so surely tongues are firmly in cheek. Until You Comply including Entropy is another highlight and lasts 15 minutes. Again there's a lot going on here. Jazzy zappa- esque flourishes and surely no Beardfish album would be complete without its 3/4 time Oohm pah pah moment, very Scandinavian. There's a moment on here that sounds like the theme from a classic western with David Zackrisson's guitar soloing on top; The Big Country I think but don't quote me on that.

The only disappointment is instrumental Coup De Grace, which although enjoyable enough outstays its welcome at almost 10 minutes and starts to wear a bit thin.

Overall then, without going into details of every track, if not reaching the heights of Sleeping In Traffic Part Two, Beardfish have produced another strong album at least as good as or better than their first 3 records. This time though it's a bit more demanding and requires a few plays to get under your skin. Well worth persevering with though.

Swedish act Beardfish has really struck gold with this latest effort of theirs.

Their musical foundation is firmly rooted in the music of the 70's, with vintage keyboards and organ dominating the proceedings throughout. Their influences are numerous though, fans of acts like Genesis, Santana and Pink Floyd will all find familiar elements on Destined Solitaire.

But first and foremost Beardfish appear to be following in the footsteps of Gentle Giant this time around. Quirky, shifting compositions with unpredictable, surprising and at times wild developments is the name of the game here, and while they take care to always include passages of a distinct symphonic nature as well as highly melodic and captivating sequences, challenging features are liberally spread throughout the album - more often than not encapsulated in energetic or strong atmospheric sequences where the emotional impact to some extent hides the quirkiness of the proceedings.

Creative, innovative and unpredictable music, strong compositions and excellent performances - this is art rock at it's finest, and a strong contender for album of the year as far as I'm concerned. At least for those who are fond of quirky, challenging art rock.

Closer and closer to Gentle Giant, closer and closer to masterpiece

I think Beardfish is one of these contemporary bands, that makes an improvement in form with every next release. There isn't exception with the release of Destined Solitaire. It's fresh, profound and really innovative. With Destined Solitaire Beardfish looks like Gentle Giant more and more, but without stealing themes and ideas. They just improve their own art rock style. I'm very attracted by some of the motifs on the album. Especially the bringing in of some themes from different genres (death growls on homonymous song, rap singing on In Real Life There Is No Algebra, frequent use of accordion), a lot of tempo changes, saturated sound, artistic vocals and many more. I'm surprised with the low interest in PA for reviewing this album after successful Sleeping in Traffic Part Two. Only 39 votes after 6 months of its release. In my opinion one of the bests of 2009 - 4,2 stars.

Highlights in Destined Solitaire:

1.Coup de Grâce. /flawless/

2.Destined Solitaire. /true masterpiece/

3.Where the Rain Comes In. /highly recommended eclectic song/

It's interesting how, for the Beardfish albums I have listened to, the cover art perfectly matches the music inside.

Sleeping in Traffic part 1: A white background with a sketch of a man walking a beardfish in the center. The music: Smooth, fluid, clean, yet the themes seeming to be in a little bit of disarray (melancholy and anger, putting the pieces back together, or failing to do so). Nicely centered.

Sleeping in Traffic, Part 2: Darker cover, what looks like a coffee ring in the center, a distorted looking man in the lower left corner. Darker, heavier music that seems just a little more disjointed, and seems to convey the feelings of a man who failed to put the pieces together and is now living an insane life.

Destined Solitaire: Seemingly unrelated but chaotic images that somehow still look really cool together. The music: Seemingly unrelated and chaotic but somehow still sounds really good.

The first time through an album, I usually have a good guess if I will like it or not. I may not necessarily "get" it, but I will have an idea what my experience with it is likely to be. This album was one of those puzzling albums where, the first time through, I really didn't think I liked it, yet I wanted to put it on and listen to it again.

Nothing in the music grabbed me in the same, fluid, grab you on the first pass way Sleeping in Traffic Part 1 did. None of it rocked as hard as the heavier or more insane parts of Sleeping in Traffic Part 2 did. Other than the fact that the music sounded like it was Beardfish behind the instruments, this album did not grab me in the same ways the previous two albums had. But, unlike some albums, where after the first listen I feel that there is not going to be much more to hear, I felt intrigued to hear more. I knew that there was something there - that there was some glory behind these mystifying tracks - and so I continued to listen.

I was correct. What I had originally perceived as messy, disorganised tracks that moved from one idea to the next without the fluidity that Beardfish had demonstrated previously quickly revealed themselves to be at least on par with what Beardfish had done before. And then the tracks grew beyond that point, each sticking in my head and begging to be heard again. In each song, so many ideas were intertwining and criss crossing, that I was getting different parts of the same song stuck in my head at various times, and I had to listen to the whole album to figure out what song was stuck in my head.

How did Beardfish do this? How did they turn a single disc into such a collage of interesting, varied sounds? How did they get away with swearing more than they ever have before, without it even bothering me (when swearing in music I usually find unnecessary and annoying)? And how did they keep this album fresh for so many listens?

In the end, I had to listen to this album over 20 times before I really understood how the pieces fit together. But it was not a tortuous, "Once I reach this point, I will appreciate this album" experience like I have had with some albums in the past. I was excited to hear it each time. To hear the parts that I had uncovered the previous time again, to uncover new parts that would intrigue and excite me.

For weeks, I had to listen to this album every day. Some days, multiple times a day. I had high expectations after the sleeping in traffic discs, and yet I never expected this. Beardfish continues to evolve with each disc, changing what it is that makes them intriguing and interesting.

Final rating? I find it hard to consider giving this album five stars, because even after so many listens, there is still a certain 'dirtiness' to the sound here. Yet that dirtiness is part of the charm, part of the appeal that made me have to listen to this album so many times, that drove me to try to understand it. So at the same time, I have a hard time giving this album anything but a five star rating.

I don't even need to describe any tracks. Each track is strong, and while a couple in the middle are not quite as strong as the rest of the album, it doesn't matter.

Now if only Beardfish were to come to Canada, so I could see them play some of this delicious madness live :)

Now I have but to wait for their next album ... on the path that they are on, it will be strange, new, hard to digest, and better than ever.

Beardfish has always been a hit-or-miss band for me; I love some of their work while I absolutely detest other work. This album is one of those that I don't particularly enjoy. The sound here is very eclectic, but moreover very symphonic prog rock sounding. The tracks are all composed well enough if a little bit random at times, but the title track and "Coup de Grace" are the only stood out at all after listening to the album over a few times. As usual, the vocals are very strong and are probably the best part of the album, although the guitar tone is also fantastic. Beardfish has a sound that is kind of their own, and it isn't for everyone though it is mildly accessible to the beginning progressive rock fan, which is exactly who I'd recommend this album to. It really doesn't do much for me even though "Coup de Grace" is one of the band's best tracks.

I still feel that these guys sound like a cross between Frank Zappa and WIGWAM. So yes there is lots of humour in the lyrics and they drop several "F" bombs along the way.The organ, vocals and drums are most prominant. I felt that this album didn't hit me like the previous one, it's not as dynamic as they seem to stretch passages out quite often. Still I can give nothing less than 4 stars and I do expect this one to grow on me more than it has so far. And it is too long at almost 77 minutes.

"Awaken The Sleeping" is a good intrumental with lots of organ as drums and bass support. It's spacey late then this powerful atmosphere ends it. "Destined Solitaire" sounds great early with that guitar then it kicks in with vocals. Love the lyrics. Some brief growly vocals before 5 minutes. Nice crunchy bass in this one.The guitar is lighting it up before 9 minutes then the vocals return after 10 minutes.

"Until You Comply (Including Entropy) is the longest track at almost 15 1/2 minutes. Classic BEARDFISH with those WIGWAM styled vocals and humerous lyrics as the bass, drums and organ lead instrumentally. It turns slower paced around 6 minutes and reserved vocals come in at 7 1/2 minutes then it kicks in. It settles back again as the tempo continues to shift. It's lighter with silly vocal melodies 12 minutes in. Ripping guitar before 13 minutes with powerful organ runs. It then settles with piano after 14 minutes then the vocals return to end it. "In Real Life There Is No Algebra" here here ! A catchy rhythm at first with vocals but those vocals do become the focus.

"Where The Rain Comes In" has a good uptempo intro with lots of organ.Vocals 2 minutes in as it settles back. Again the is pretty funny. It kicks in with organ. "At Home...Watching Movies" has percussion, clapping and strummed guitar as the vocals join in.

"Coup De Grace" has accordion in it with bass and a beat.The organ floats in. It settles then kicks back in with power after 3 1/2 minutes. More accordion later. "Abigail's Questions (In An Infinite Universe)" has some brief atmosphere as the music kicks in and the vocals follow. It's fairly laid back overall. It turns a little jazzy before 6 minutes. Female spoken words come in and then the male vocals are back. Guitar after 8 minutes.

"The Stuff That Dreams Are Made Of" has some excellent sounding vocals and piano at one point. It settles before 2 minutes then picks up at 3 1/2 minutes. It picks up more 8 1/2 minutes in with the drums and organ leading.

An enjoyable album that I am drawn to simply because of that BEARDFISH sound. 4 stars.

'Till you comply with their madness

I have spinned and enjoyed this album a few times now but it always leaves me with the same feeling: that of confusion.

Beardfish are a very talented and educated (from what I can hear in their music) band. They have a pretty unique, absolutely eclectic style, borrowing from the past, yet being ridiculously modern. Throughout this album I see so many ups and downs, get overly excited and disappointed within the same track a few times, and end up unsure of whether what I listened to was a masterpiece or a bunch of well-educated jazz/prog passages put together on an ad-hoc manner. The answer lies somewhere in the middle.

From the first track the effect that Gentle Giant and Zappa have had on Beardfish's music is evident. Flirting with, but never utterly reaching avant-garde, they seem to borrow from the symphonic elements of ELP and take their music forward with a very modern approach. There are several intentional "atonal" passages that simultaneously put me off and create some curiosity. Their lyrics are full of irony, utterly interesting and have a social/political tone - see "Until you Comply", one of the best tracks in here and with similarities to The Tangent. Quirkiness, quirkiness, quirkiness... is everywhere. From the accordion-led instrumental "Coup de Grace" to the VDGG-influenced "Abigail's Questions", the album surprises in all fronts. Especially dominant is the use of organ that provides a retro- and epic feeling at the same time (see the end of the closing track...).

"In real life there is no algebra" they claim, but in this album the maths are for the experienced solvers. For those that love quirky prog, this is probably a must, for the rest this could be a love-or-hate album. 3+ stars.

Highlights: Until you Comply, Coup de Grace, the irony in the lyrics

A Swedish band whose Gentle Giant, Echolyn, and Frank Zappa influences are so pronounced that one often has to do a double check. Lead vocalist Rikard Sjöblom's unaccented American voice is a flawless clone of Brett Kull's (or THE TEA CLUB's MacGowan brothers or UNAKA PRONG's John Hargett).

1. "Awaken the Sleeping" (6:01) quite the bombastic opening (an instrumental)--crash and banging away--before slipping into a GG klezmer-ish motif to mix things up. These two motifs alternate for a 90 seconds before a bouncy piano veers us toward more true ELP/Gentle Giant territory. Incredible performances from all musicians--and the sound/tracks are so clean and crisp! There's even some humor emanating from the keys before all goes Roger King synth wash. (9/10)

2. "Destined Solitaire" (10:53) great Gentle Giant music (on the heavy side) supporting Rikard's witty, angry Ozzy Osbourne/Greg Lake-like vocal performance. There are several totally unexpected stylistic twists and turns despite retaining a rolling GG feel. (17.25/20)

3. "Until You Comply (including Entropy)" (15:21) laid back GENTLE GIANT with Hammond open this one until Rikard's McGowan vocal takes us into the world and sound of THE TEA CLUB. There certainly are many flourishes coming from Rikard's keys that are more Keith Emerson than Kerry Minear. (27/30)

4. "In Real Life There Is No Algebra" (4:33) now traipsing into a territory that feels and sounds more like Frank ZAPPA, the band wear it well. This is even true of the lyrics and singing style. (8.875/10)

5. "Where the Rain Comes In" (8:29) two minutes of dynamic and diverse instrumentalism is mellowed just before Rikard's vocal begins. This feels like a mix of AMBROSIA and ECHOLYN. The next instrumental segment sounds like a mix of GENTLE GIANT and FOCUS. Rikard's next brief vocal burst signals a switch into a more diverse, Latin-rhythmed instrumental passage. The half-talked vocal passage about (almost) getting a job is funny--and followed by a passage that kind of recapitulates all of the song's previous themes. (18/20)

6. "At Home... Watching Movies (1:53) Spanish flamenco music! With ELP-like singing! (5/5)

7. "Coup de Grâce" (9:49) an accordion-based instrumental song! Excellent melodies and dynamic and stylistic variety. A top three song for me. (18.75/20)

8. "Abigail's Questions (In an Infinite Universe)" (9:12) I hear some great ECHOLYN-like melodies and quirk on this one. The the Gentle Giant influences take a distant back seat. In fact, I'm more often reminded of NYC-based band FROGG CAFÉ over the long course of this one than I am of GG. My favorite song on the album. (19/20)

9. The Stuff That Dreams Are Made Of" (10:40) Quite a striking THE MARS VOLTA feel and sound to this one. Great vocal performance--almost Donald Fagen-like--but mostly he sounds kind of like a BRUCE DICKINSON-CEDRIC BIXLER-CHILDISH GAMBINO blend! The GENTLE GIANT element comes storming to the front at the end of the fourth minute but then get pushed back by the TMV motifs at the five-minute mark. Another GREAT song. My final top three song. (18.5/20)

Total Time 76:51

Hearing the two Sleeping in Traffic albums back when I first joined PA I decided that this was a band not worth my time, but I've just listened to this album and I can't get enough! So, I went back into the band's earlier discography and all I can say is that Wow! has this band evolved, developed, gained confidence and SKILL since their early days. Their progression and development since Sleeping in Traffic Part 1 has been astronomical! Even in one year, since Sleeping in Traffic, Part 2, I see tremendous growth in terms of skill, compositional sophistication, and the confident assimilation and synthesis of many of prog's toughest styles--including GENTLE GIANT and ECHOLYN, yet bringing an ease, melodic genius, and humour that is so winning. And singer Rikard Sjölom's voice has matured, gained confidence and ease, and offers such witty, sophisticated American English lyrics that I am simply blown away! There were actually five or six songs all vying strongly for my Top Three!

91.21 on the Fishscales = A-/five stars; a minor masterpiece of sophisticated, eclectic, and virtuosic progressive rock music. Definitely an essential pickup for any prog lover! A long album of intense, quirky, complex, though often melodic, songs. The highs are worthy of consideration for prog perfection, the lows are minor irritants.