Navigating ‘Horrorful Heights’ by The Bevis Frond is like embarking on an expansive, multi-dimensional voyage through the singular psyche of Nick Saloman. Released on the venerable Fire Records, this release stands as a towering testament to the enduring power of psychedelic rock when wielded with both intellectual rigor and visceral emotion. It is a record that manages to be simultaneously massive in its sonic architecture and intensely intimate in its lyrical delivery, proving that Saloman remains one of the most articulate and fearless architects of the underground as he moves into yet another decade of recording.
The brilliance of this collection lies in its seamless fusion of sixties-inflected pop sensibility with a sprawling, heavy-duty experimentalism. Saloman has long been a master of the melodic hook, yet here those melodies are often submerged within layers of fuzz-drenched guitars. This triple-guitar attack, featuring longtime members Dave Pearce and Paul Simmons alongside new bassist Louis Wiggett, marks a significant evolution from the stripped-back minimalism of Saloman’s 1980s solo work. Wiggett brings a surprising new color to the Frond palette, contributing soulful pedal steel to “Best Laid Plans” and “Momma Bear.” This inclusion shifts the thematic focus toward a more pastoral, Americana-influenced version of British psychedelia, while the rhythmic interplay between Pearce and Wiggett creates a jazz-influenced foundation on the record’s more experimental instrumentals.
The album’s range is wide but sharply defined, moving fluidly between jangling psych-pop and heavy-lit workouts. A composition may begin as a deceptively simple piece of power-pop exemplified by “Draining The Bad Blood,” a track cut from the same melodic cloth as “He’d Be A Diamond,” a fan favorite famously covered by Teenage Fanclub, only to undergo a startling metamorphosis, ultimately dissolving into a feedback-laden odyssey. This pop-leaning sensibility on tracks like “A Simple Pursuit” provides a vital counterweight to the experimental gravity of the nine-minute “Space Age Eyes.” This metamorphic structure stands in stark contrast to the more direct energy found on shorter bursts like “Hiss,” where the production contrast between fuzz-drenched chaos and the sitar-laden clarity of the title track highlights a staggering sonic range.
Saloman further uses production to denote internal versus external perspectives, most notably in the vocal presentation. The title track features dense, ethereal vocal layering that suggests a deep, internal head-shop mysticism, while “Sink Estate” utilizes a raw, single-track vocal that grounds the listener in the grit of an external, social reality. This juxtaposition allows Saloman to map the class divide of modern Britain, contrasting the biting lyrical cynicism of “Sink Estate” with the pastoral, almost yearning optimism of the pedal-steel-led “Best Laid Plans.” This technical nuance extends to “Silver Insects,” where the use of backward guitar masking creates a disorienting, “narrative freeze-frame” quality, capturing a moment of static beauty within the otherwise propulsive flow of the album.
The expansive double-album format allows Saloman to explore profound thematic parallels across the tracklist. The record begins with the modern anxiety of “A Mess of Stress,” setting a tone of agitation that is gradually dismantled and processed throughout the twenty-song journey. By the time the listener reaches the finality of “King For A Day,” the initial tension has transformed into a regal, weary resolution. This ability to splice disparate influences into a cohesive whole makes the record a late-period peak. “Mossback’s Dream” exemplifies this, blending Hendrix -ian lysergic leads with the propulsive energy of ’80s American hardcore, while “Buffaloed” leans into a shimmering, *Byrds*-tinged atmosphere.
Amidst the experimentalism, the human warmth remains palpable in the contemplative “Quietly” and the melancholic euphoria of “That’s Your Lot.” From the visceral, self-reflective bite of “I’m Gonna Drag You Into My World” to the closing notes of the finale, this release presents a focused portrait of The Bevis Frond in 2026; vital, tuneful, and entirely unburdened by nostalgia. It is an original and uncompromising statement that reaffirms Saloman’s status as a visionary outsider whose instinctual songwriting remains as sharp as ever.
Releases February 3, 2026
Find out more by visiting: Bandcamp | Fire Records
