Establishing himself through his timeless folk-rock blend, simple yet vibrant production and signature finger-picking style, Portland-based Eddie Berman returns with his new album, Signal Fire, released January 19th.
After being forced to record his previous album, Broken English, in solidarity during the pandemic, Berman considered adopting the remote-recording approach as a permanent practice for convenience. Yet, upon reuniting with his band after nearly two years, Berman was instantly immersed in the familiar, vibrant energy and unmistakable magic of in-person collaboration. And from there, he realized there is no going back.
This theme of overcoming a sense of alienation, whether it be from the pandemic, early parenthood life, or a sort of internal lethargy and lack of personal meaning, laid the groundwork for what the 13 tracks in Signal Fire are all about. Emerging back into some version of a functional society in post-pandemic life with a refined perspective on what matters the most, Berman dials in on his loving relationship with his wife and the wonder of his kids, while also contemplating the changing world around them.
The album opens with a rush of serenity and warmth in “Rolling Over Me,” a charming track that effortlessly guides listeners through its breezy melody and thoughtful musical arrangement. Similarly, “Mine All Mine,” exudes a sort of playful exuberance while remaining grounded in a smooth, soothing texture. Steeped in soulful piano and a glistening beat, the track is somewhat reminiscent of the raw and rich energy of a 2006 James Morrison.
With insightful lyrics and a deep, colorful soundscape, “Looking In” is an especially notable track on the album for its cinematic feel and Berman’s creative songwriting. The track places the listener somewhere alone, outside, left to ruminate as the brush of a pleasant breeze gently chills their skin.
Berman’s December single, “Heartbroken,” takes a subtle tonal shift from the light and airy mood of the album’s other tracks. With its mournful accordion and skillfully polished fingerpicking, Berman places himself back in bed with his sleeping children, pensively weighing both the beauty and horror of the lives set out for them.
As he continues to lyrically circle back to his relationship with his family, Berman sings of his younger daughter Kiera in “First of Spring (Keira’s Song),” a track following in tandem to the 2019 release “Pascal’s Triangle” about the birth of his older daughter, Bridget.
The track begins with a sort of haunting heartbeat-like percussion and Berman’s raspy, emotive vocals as he shares the brief, yet terrifying moments of Kiera initially struggling to breathe in the delivery room. Moving through a complexity of emotions he has toward his family and the concept of never taking life for granted, the track serves in large as an embodiment of the message Signal Fire conveys.
The last song on the album, “Strange Place,” is a contemplatively poetic, gentle and soft tune, with a guitar that seems to have a voice of its own. Almost like a lullaby in a sense, the track makes for the perfect closer to Signal Fire’s collection of wise reflections and tender sonic landscapes.
“I definitely enjoyed being able to be a little more deliberate and discerning during the remote recording process,” Berman stated about his previous album. But then the fog would lift after reuniting with his bandmates: “Right away it was just a feeling of, ‘What the hell was I thinking?’” The point of this kind of music isn’t to be discerning, for God’s sake. It’s to be alive! I wouldn’t be able to recreate this feeling if I spent a decade recording remotely.”
And the magic of that like-minded collaboration shines on Signal Fire.
