Bradford
Loomis - Bravery & the Bell
Bradford
Loomis’s third solo release Bravery & the Bell shows more artistry at this
point in his relatively young career than many writers and performers muster
over the course of decades. Some might hear this music and feel like it is a
little too studied to pass the smell test, substituting poses and cheap effects
for the grit and gravel of real traditional music, but these are purists who
disbelieve any modern performer can rival the depths of traditional music
icons. Loomis puts such naysayers to bed because there’s a clear mix of
technique and deep passion in what he does and you can tell, from the first
line, which impulse is stronger. The seven songs on Bravery and the Bell
reverberate with the sounds of a man pushing himself into new territory with
each release. It may not reinvent the wheel musically, but he zeroes in on
challenging subjects and themes through each of Bravery & the Bell’s seven
songs coming up with, each time, some individualistic insight well worth
hearing.
“Wind & Woe” serves notice of an unique point of view. It is clear from the
beginning that Loomis’ emotional investment in this material is high and the album’s
inspiration, the recent diagnosis of Early Onset Alzheimer’s his father
received, is undoubtedly the reason. There is an extra charge to these songs
missing from Loomis’ earlier albums and this is revealed by small and,
admittedly, purely subjective choices – the placement of organ fills, their
duration, the slide guitar snarl and when it comes in the arrangement, are a
few. It retains a upbeat pace throughout but “Chasing Ghosts” is a different
story. This song has a much stronger melancholy tone, but it’s a song that
doesn’t show its hand immediately. The arrangement reaches its goal through a
process rather than hinging everything on a few key moments. The lyrics are
just as good as “Woe & Wind”, but there’s an increased vulnerability here
missing from the opener. The vulnerability continues with the album’s fourth
song “In the Time of the Great Remembrance”. Bradford Loomis dispenses with the
electrified rootsy approach heard in the first two songs in favor of acoustic
playing. This doesn’t translate into a dilution of his songwriting’s impact,
however. There’s nothing in the song’s construction that won’t be pleasingly
familiar to any fan of quality rock music and Loomis brings the song disparate
sections together It ends with suitable climatic muscle as the instruments
reach a fever pitch, never running off the rails, and Loomis gives a gutsy
vocal to match its focus.
“Drive
You Home” is a surprising move towards R&B featuring restrained, stylish
verses that expand into enormous choruses. Loomis’ vocal has remarkable
versatility – he occupies a variety of levels with an ease and emotiveness that
other performers, young and old, would surely envy. This sounds like first take
vocals and sparkles with the spontaneity of a performer invigorated by material
they love. Loomis has raised the stakes another notch with this album. It isn’t
enough to call it Americana – this is personal music utilizing an idiom
familiar to many, but these arrangements are just reference points of sorts for
the album’s heart – Bradford Loomis’ voice, exploring his heart.
Shannon
Cowden
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