On their third album, Beatenberg are redefining the classic indie sound

Beatenberg, one of Cape Town’s prized music exports, changed hemispheres and migrated to London after the pandemic. Matthew Field, Robin Brink, and Ross Dorkin haven’t been dormant since then though, with an amuse bouche of an EP in 2022 and Field’s own solo project M Field releasing two EPs – each collaborating with his Beatenberg bandmates in the wings of the production. Field’s influence is more than apparent on their new album, but where he had the ability to go rogue and abstract on his own, he’s found the sweet spot with Brink and Dorkin by his side.

The Great Fire of Beatenberg develops the band’s South African sonics and forges it with the heyday of indie in the late 2000’s, and with the recent resurgence of classic names like Two Door Cinema Club and Vampire Weekend, it’s refreshing to see a band from the leftfield make strides in the genre. Most similarities can be drawn to Vampire Weekend, the self-titled record from 2008 – “Chorus Of May” being a dead ringer for a lost B-side – but Field’s skilful writing maintains a sense of unfamiliarity with every step that keeps you on your toes and eager for whatever comes next.

The record opens with “Branches On A Tree,” something a little more electronically produced than Beatenberg have been before, and it works for them. While it’s certainly familiar with their previous efforts The Hanging Gardens of Beatenberg and 12 Views Of Beatenberg, the UK’s music scene has seemingly had an effect on the trio – not to mention there being a song about London transport (“Night Bus”) that has the easy-listening feel of Lucy Rose in 2012. Notes of Field’s solo work come through as well – “Green Bird” and “Don’t Call Her Over To You” being the most notable – and as guitar riffs as light as air float and flow along the album’s movement, it all merges into a record that is as carefree as it is relaxing.

Field’s style of lyric writing is one of the album’s best and most unique features, as what are seemingly mundane topics turn into notions of love and adoration – detailing that beauty can be found in just about anything. Song titles “Eau De Toilette,” “Bath Towels,” and “Wheelbarrow” don’t exactly spark creativity in most, but Field’s outside-of-the-box thought processes make it work. The songwriting too is unusual in places, with the slow, clashing piano motif in “Bath Towels” underlying the song filled with faster guitars and interesting melody jumps. But again, it works so well that you miss the interesting detail if you don’t look for it.

Sure, there are some moments less driven than others across the record, like “I’ll Be There” and “When I Fall Asleep,” but the lack of pace only makes room for intricacy. Letting these moments breathe gives the album a needed pause and break from the upbeat, and shines a light on the skilful instrumentations and melodies.

Much like other bands, Beatenberg have found longevity in the refinement of their original sound, rather than venturing far away from their metaphorical Kansas. It’ll be a challenge to do this again without treading on being somewhat repetitive, but if anyone can do it, it’s these three.