Swedish Musicians Explore & Navigate 70’s Progressive-Alt-Folk-Funk Cleverly

Interestingly enough this album came to my attention through music sources in Stockholm, Sweden. Some readers would wonder what does Sweden have to do with Americana, folk-rock, roots and country-rock music. But that would be the same as saying what does Kannelbulle, Dagens Smak or Astrakan have to do with donuts? Well, they’re all pastries, all look and taste really good and what does it matter so long as you’re appetite is satisfied? So, lately, I’ve been walking through a Swedish musical pastry shop and I have discovered they are much the same as the best Italian and French pastries and in some instances, may be better than a glazed donut or danish.

So, I educated myself and cut deep slices of Bonefish. Their second album Atoms looked interesting — 11 tracks, 46-minutes of music — all in English and for the most part, they followed the musical traditions that this publication adheres to. They even may have done it better than some of their American counterparts. 

I didn’t find their music challenging, but what I found was a Swedish band that understood what they were doing and they offered their angle which made it all the more interesting and they maintained it all — melodically.

“Atoms,” the first track — is a little reminiscent of English singer-songwriter Al Stewart remember him? He had a few hits in the 70’s the biggest being “The Year of the Cat,” and he had something clever called “Genie on a Tabletop,” as well. The lead vocalist Bie Karlsson (or perhaps bassist Anders Nylle Thoor — who is also a lead vocalist) has charm in the presentation. You would think a song called “Atoms,” would be all spacey and silly but don’t dismiss it. This is a well written, intense and melodic excursion with some nice emotionally wrought guitar notes. It has that throat gripping ascending strings of the simulated orchestration and deep cello sound you’d expect from King Crimson. Let’s not forget that aside from Crimson’s long, intense, and at times bombastic pieces they also dabbled in little English folk-songs like “Cadence and Cascade,” and “Moonchild” which were not all fireworks going off in the kitchen sink. Yet, Bonefish has written a song that is not progressive rock per se but “progressive alternative catchy pop whatever” with consistent chiming guitars, intelligent lyrics and it’s — get this — all accessible. That’s their little genius as a band at work. Let’s see if they maintain that recipe. 

The production is excellent — it has its folky spaces, all applied smartly to a dramatic progressive rock stew. There are passages that are dramatic the way Al Stewart wrote his pieces. The guitar — probably by Matte Norberg holds down the moments that strike deep with tight drums by Rasmus Rasmusson they get a sound from these four men that’s full and exciting. The closest comparison to a previous artist, aside from Stewart, who had this talent for being slightly progressive but with a folk-rock intensity would be the intense singer-songwriter the late Duncan Browne (“The Wild Places,” “Criminal World,”). With that said, it’s a dynamic introduction to a band that establishes its musical identity quickly and they don’t sugarcoat it. This is not Journey, Styx, Kansas, or The Five Man Electrical Band. 

With track two Bonefish opens with drums and bounds into a little funkier area on “Another Day,” — a nice David Bowie / Nile Rodgers feel to the intro. It has a steady heavy dance beat, strumming guitar, lite-funk, with a nice drive that never lets up. The song has grip — positive, optimistic David Bowie type vocals. Again, the production is quite good and the entire groove is uplifting with a crisp arrangement. I usually don’t care for vocals that include pseudo-doo-wop but here with their little edgy voices, and wild guitar solo hovering over its surface — it works quite well. 

“Old Town Fisherman Blues,” is one of the best songs on this collection. Played with embellished old styles, soaked in modern instrumentation but not losing the charm of antiquity in its melody. The guitars slink, the drums remain steady with no showboating, subdued orchestration (probably a synth) adds color. The drums have a nice distant thud to keep the beat solid. Another good arrangement that has a nice Mark Knophler approach and the vocal mannerism in a Blue Nile fashion. What is exceptional is that this is different from your standard fare songs. There are shades of some great 70’s bands here including Dream Academy (“Life in a Northern Town”), and The Church. 

Getting a little blusier — Bonefish lays down a hammering beat and gnarly guitar with “Potential Loss of Faith,” where the lead vocalist sings through the churning dirty guitar and deep bass tones. It creeps along with confidence and it’s just caught up in the murky tide of the melody. Sounds like this could have come out of the Delta, or New Orleans but it didn’t. I guess the influence of Tony Joe White, Don Nix and J.J. Cale may have reached out further than they ever believed. Quite a good lead guitar lick slithers through the break and the vocals overall are hoodoo voodoo good. 

“Sister,” is a gut wrench. Sounds a bit like a James Walsh guitar riff from an early Eagles tune put through a grinder. What sets it apart is when the lead guitarist goes off into one of these chicken choking takeoffs. This is embellished with so many twists and turns musically — it has crisp drums laying down trash can bangs. It’s actually a feast for the ears in the headphones. The effects are kept at a minimum but done very well. The song doesn’t overstay its welcome either. Just enough. 

Not everything on this album works but when it does it has resonance. These are accomplished musicians with ideas. “I See Your Heart,” has that standard attractive rock guitar performance. It has a catchy melody and the addition of male whistles about as strong as that old hit record from the 60’s “I Was Kaiser Bill’s Batman,” by Whistlin’ Jack Smith. A surprisingly effective addition with the redundant powerful rhythm section. Clean bad-ass guitar in the Knophler tradition. If you need to hear a ballad that’s produced cleverly, is heavy at times yet balanced with crisp jangly guitars riding the bass — this is a great choice. Very 80’s Manfred Mann oriented without being overly synth driven. 

With vocals reminiscent of Alan Price (keyboardist of The Animals who released many fine solo albums), this song is upbeat, typical of what American artists either avoid or don’t know how to do. “Hey-Hi-Ho,” rollicks along at a nice pace, telling a little story, follows the borderline humor of 70’s rock bands like Deaf School with Bette Bright (“Hi Jo Hi”). There is a slight reminder of the more funny and edgier songs by Stackridge (Extravaganza, Pinafore Days). This is delightful and it has its place. 

I like the diversity of Bonefish and the fact that there is no Euro-ingredient in their performance. They apparently lean heavier into the actual roots area of the music they profess and that would be music that is more English crossed with American hybrids. Here they have an exceptional tune with “Salt and Chrome,” they are now skimming the surface of Pink Floyd-The Beatles and this is what may come together. Excellent vocals — melodic effects, beautiful deep David Gilmour-Chris Rea type guitars — sitar effective with dual vocals and a well-produced mix. Sounds like another great headphone trip. Despite sounding a little like so many artists and bands of the 70’s Bonefish has its individuality, its own invention anchored solidly in their showcase. This is what sets them apart from good bands who are just emulating their heroes. 

“Crappy Eyes,” is a potpourri of many styles and sounds and where most bands would get lost in the campiness Bonefish manages to navigate the terrain expertly. There’s a little Status Quo in the energy of the vocals, George Harrison in the guitar attack, Paul McCartney with ELO in the background. It’s a treat for the ears. The song doesn’t have a great melody but it’s a heady experience musically nonetheless. Nice bass guitar, dramatic trashcan, cardboard box type drums, chiming guitars to contrast the weight and it all follows an exciting route to a great ending with a whispered piano the sounded like someone was practicing. Usually songs with titles like this I avoid like the plague but this time I am glad I allowed the CD to just play out. I had to walk over to the stereo when this played the first time around and look up the title. I can’t slight this band for its ingenuity and its ability to mine old music styles and reshape it into something fresh and still enjoyable. I’m sure their new collection will be equally articulated. There is so much to still excavate. Get busy boys. 

The album was produced by Max Lorentz and was recorded in Wales. 

Website: http://bonefishswe.com/

Facebook: https://www.facebook.com/BonefishSWE/

Bandcamp: https://bonefish.bandcamp.com/

Disclaimer: The opinions expressed in this review/commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name or studio was known & being used here solely as a reference and will be removed upon request. YouTube images & music are standard YouTube license. 

John Apice / No Depression / August 2018*