The Bevis Frond
Miasma

Nick Saloman aka Bevis Frond is the most sincere example of a passion for a seemingly unyielding genre, psychedelia. A musician who, during the golden years of rock, couldn't make a name for himself like the other big names that set the bar, essentially limited himself to nurturing his great passion for records and faithfully strumming the guitar creations of his heroes. A great pity since during those years of great revolutionary creativity he was already at the right age to immerse himself in the acid excursions so dear to him, perhaps leaving a small mark of presence in the most innovative and seminal era that modern music history remembers. His uncertain debut dates back to 1968 in the vibrant and imaginative swinging London, under the name Bevis Frond Museum, his repertoire limited to renditions of classics by Jimi Hendrix and Cream. From that point, he began his challenging musical journey, practically snubbed by everyone, continuing his tortuous artistic path as a perfect "outsider", firmly clinging to his origins as a psychedelic enthusiast, a great supporter of low-fidelity guitar jams, in love with the sixties garage attitude and the most quirky lysergic folk. Aside from some artisanal publications in the seventies (notably the self-produced acoustic rock demo in 1976), his true arrival on the music scene occurred in 1980 when he decided to create his own record label, Woronzow, and released an EP under the name Von Trapp Family, with which he echoed the Californian west coast groups of the sixties. Meanwhile, other projects followed until 1987, the year when finally his underground creation took shape with the debut album Miasma. There’s no denying it from the very first track, the intro "Garden Gate" immediately conveys the improvised guitar style, full of captivating psychedelic energy, realized in "She's In Love With Me", Farfisa organ and distorted guitars always chasing endless solos, with a melancholic voice which, as in other instances, reminds me a lot of Bob Mould from the defunct Husker Du. Notable is the third track "Wild Mind", a chaos of lysergic solos, a garage band attitude and if I may dare, a perfect cross between Stooges and the more recent The Heads, a distorted sound that blends these ideas not necessarily original, but effective and fascinating. I find it necessary to also mention the resemblance of some episodes to the early Dinosaur Jr. (those up to Bug), dirty and distorted sounds seasoned with the good old electric folk of Neil Young. A debut work worthy of respect, the references to the past are many, but the grit and passion of this British underground champion leaves one enchanted, amazes, and engages so much to earn a special place among the psych masterpieces of all time, those records that are an absolute must-have. Retro Genuine Rock.