[rating=9.00]
The obvious question that comes to mind on first exposure to Nashville singer/songwriter Bern Kelly and his excellent new album is, “Who is this guy and how has he managed to elude wider recognition. In simple, straightforward terms, suffice it to say that Lost Films is the kind of album that qualifies as an instant classic — not because it bends the boundaries but rather, because it encapsulates what’s within those parameters and effectively brings that music to the fore.
In essence, Bern demonstrates an ability to take a variety of sounds — whether it’s the surging, celebratory sounds of “Unsold,”“Julie” and “Cash in the Basement” or the happy/sad balladry and wistful reflection of mellower tracks such as “Madeline Street,” “Garage Sale” and “Last Day of Spring” — and create a seamless fit. The melodies move with a measured grace and flow, bringing to mind the work of such singular songwriters as Josh Ritter, Ron Sexsmith, Tim Easton and other artists that have paired rumination with resolve while fraying the boundaries between each.
According to the press materials that trumpeted the album’s arrival, Lost Films was written over a three year period and was intended as a kind of aural commentary that documented Kelly’s life and career since making his move to Nashville. Working with some of the city’s finest players, he’s clearly found a fine fit in his new environs, a city where there’s certainly no shortage of exceptionally talented musicians. That’s one thing that makes this effort so special, and another reason why Kelly’s credibility is instantly established. Despite several previous outings all likely worthy of discovery, it’s clear that with this one effort, he’s come closest to his big breakthrough. Hopefully, these songs and the stories they describe won’t remain lost for very long.
