THERE are genres and aspects of the musical spectrum which will always be clung to and adored despite new fads or trends that come along. Two of these areas which expertise will always reap the rewards are most certainly songwriting as an art form in itself and acoustic music in its purest form, peering above the crowded marketplace as a true testament to an artist’s ability.
Given these perceptions, it’s all the more remarkable that Ay-based duo Bella And The Bear have managed to achieve so much in such a short period of time; entrancing those who’ve been exposed to them and astutely finding their footing in Scotland’s vibrant music scene over little more than a year.
Building from the momentum that they’d accrued after their impressive debut EP, Stuart Ramage and Lauren Gilmour have wasted little time and returned with A Girl Called Bella, a new collection of songs which continue to epitomise precisely what makes the group’s output so incredibly riveting whilst exploring a different mindset altogether.
Setting out with same ilk of resonant and intricate guitar that listeners became so accustomed to on their debut, ‘Skeletons’ beckons us in with open arms and while somewhat forlorn in its instrumentation; feels ultimately comforting and self-assured.
Gilmour’s ability to communicate raw and unashamed emotion through little more than the affectations of her voice remains nothing short of mesmerising; elevating the track from the very moment that she graces it. From a lyrical stance, the track purports an uplifting message of unity among cultures and creeds; demonstrating that we are unbreakably conjoined from our anatomies forward.
The duo’s repetition of: “You don’t realise you do it, do you?” ingrains a powerful home truth that’s likely to upset the sensibilities of those who view themselves in a holier than thou fashion; demonstrating that whilst we may not do so intentionally there are many occasions on which we indiscriminately discard things on face value and can be prone to sweeping generalisations.
Changing pace at a rate of knots, ‘Magaluf’s’ fusion of guitar that brims with allusions to Lindsay Buckingham and gaggle of upbeat horns propels the EP in an entirely different direction from its more sombre opener. As would be expected, the track’s subject matter focuses upon the manner in which we shed the drudgery of our day to day lives in favour of brief periods of often ill fated hedonism as we head to sunnier locales. Allowing the duo to display their mastery of harmonies at regular intervals, the band manage to pass along their comment on this nation’s ongoing infatuation with binge drinking culture in a pleasant, enjoyable and non-judgemental fashion.
Registering as something altogether starker due to foreboding synth and poignant piano, ‘Little Boat’ conveys a sense of helplessness in a manner that seizes hold of the entire track and mimics the kind of downward spiral that those who are in the throes of a personal crisis become entrapped by. Making use of their propensity for spoken word and an overarching desire to tell relatable stories through their music, Gilmour steps up to the plate and delivers a stirring poem which reaffirms the ideals of despair and relinquishing of power that is established during the initial verse.
Dealing with thematic concerns such as wanderlust and opposing mentalities over a musical bedrock that brazenly veers towards trip hop in its use of percussion, ‘Passenger’ is fraught with unconstrained emotion and sees Ramage turn in his one of his most imposing and enigmatic vocal performances yet.
‘Paper Planes’ captures the perfect balance between the two EP’s, bridging the gap between the more innocent and sweet side of Once Upon A Time and the grounded and at times downtrodden thought processes which rear their head on a Girl Called Bella. Repurposing the imaginatively metaphoric approach of their debut and contrasting it with the band’s newly exhibited sense of disconcertion, the conflict which rages within the track is scintillating from the very moment that it begins to take shape.
‘Daring’ is the operative word which springs to mind when considering the contents of Bella And The Bear’s latest EP, having clearly been conceived in a headspace which was less apprehensive and more unrestricted than their previous output. The at times idealistic tendencies that permeated through their debut release have been all but washed away amid a sea of grittier realism and a notable undercurrent of gripping social commentary.
If previous release Once Upon A Time was their adolescence, then A Girl Called Bella sees the duo trying to reconcile with all that they see around them; whether that may be the fleeting glimpses of optimism or progress that can materialise or the many hardships which they or the world around them may continue to endure.
Loaded with nothing short of exquisite lyricism, soaring melodies and water tight musicianship, Bella And The Bear have once again committed the furthest reaches of their collective mind to tape and bared their innermost thoughts for all to explore.
A winning formula which has enabled the band to progress and will no doubt only replenish the spell which they’ve cast over Scottish music fans, the strength of this EP suggests that the next chapter of their enchanting tale is likely to be prosperous for both the duo and their loyal audience in equal measure.
Watch VEM Presents: ‘A Girl Called Bella’ @ CCA 2nd Oct 7:30pm ft. Stanley Odd below: