Horrorful Heights

The Bevis Frond — 2026

“Nick Saloman delivers a sprawling yet focused set that proves his instincts are still sharp deep into the catalog.”

Nick Saloman has been making records as The Bevis Frond since the late 1980s, and even now his output is still a challenge to keep up with. Horrorful Heights is somewhere around his 27th album, which is impressive for any artist that has reached this type of milestone. What stands out today is that this one feels more like a statement. Horrorful Heights is wide ranging but delivers a record that highlights Saloman’s veteran status. The album covers so much ground with songs that fall into a jangling psych pop to heavyweight guitar workouts you get the full price of admission with so many sides of Saloman on display.

The core of the album is Saloman’s guitar work, which shifts across 20 tracks. He can still land a hook clean and direct, then let a solo stretch into heavier territory without it feeling forced. The band not only is a big support but is locked in: drummer Dave Pearce and guitarist Paul Simmons are long term collaborators, while new bassist Louis Wiggett adds a genuinely fresh element. His pedal steel on “Best Laid Plans” and “Momma Bear” brings a warmth and country tinged texture that rarely shows up in the Bevis Frond catalog. At times it leans closer to early 70s British pastoral rock than psychedelia, and opens up those tracks in a way that really works.

It also leans into its heavier side when it wants to. “Space Age Eyes” runs nine minutes, built on elastic drumming from Pearce and a guitar solo from Simmons that comes in late and perfectly ends this track. The whole thing has a looseness that never feels out of place and offers a true balance which history has shown Saloman does better than most.

Saloman has always written songs that have melody, but they have sometimes been buried under the sheer volume of his output. Here the editing feels sharper. The songs are still long and the album still stretches to 88 minutes across 20 tracks, but there is a clearer sense of when to let a moment breathe. The pedal steel really works in the several songs and feels fresh for a Bevis Frond record. The mix of heavy guitar and tuneful pop tracks is familiar territory for the Frond, but on Horrorful Heights those elements sit closer together than they have in a while, and the result feels more unified.

Many of these tracks, I immediately think Bob Mould with a similar vocal delivery, guitar forward song writing and an edgy attitude. Richard Thompson comes to mind with some of the more storytelling moments like on “Silver Insects” that highlight his voice as the main instrument. Teenage Fanclub and The Lemonheads fit with the strong hooks that carry even the most fuzzed out moments here. At the same time, the looser guitar driven stretches echo Dinosaur Jr..

“Draining the Bad Blood” is one of the most direct tracks here, a clean piece of guitar pop that moves at a steady pace and becomes instantly memorable. There is no excess, just a strong hook delivered with veteran confidence. “Space Age Eyes” is a standout over nine minute epic where the band stretches out, featuring a blistering guitar solo from Paul Simmons that keeps the energy high throughout the long runtime. I think “That’s Your Lot” is another essential moment because it delivers a quick burst of energy and serves as one of the most immediate, catchy songs on the album. “Buffaloed” brings in a classic 60s feel with its shimmering guitar work and light vocal harmonies. Finally, “Mossback’s Dream” is the biggest surprise, as the guitar lines come in slowly before shifting into something rooted in American hard rock. The transition will turn your head because it stands out (in a good way).

Saloman writes lyrics the same way he plays guitar, with a quiet confidence that never pushes too hard. He observes more than he declares. There are songs here about feeling sidelined and about the gap between expectation and reality, but none of it feels heavy handed. Saloman has been doing this long enough that it is expected he will give you something reflective.

Horrorful Heights is a massive achievement that proves The Bevis Frond is still capable of producing top tier work this late in their career. Even though the album is exceptionally long, the variety of styles and the strength of the hooks keep it engaging from start to finish. It really finds a good balance between its experimental urges and its pop sensibilities. As Saloman enters another decade of music, this record suggests he still has plenty of vital stories left to tell.