There are semi-frequent examples of songwriters using multimedia approaches to highlight their art. Austrian-born singer/songwriter B.B. Cole joins their ranks with her sophomore album release Of Love and Loss, and the exotic Tarot card trappings associated with the physical release, designed by French illustrator Ariane Dudych, are never self-indulgent gloss. Cole incorporates Dudych’s contributions as visual approximations of the songwriting themes. They are wide open to interpretation. It is as successful of an integration as I can recall.
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The songwriting stands on its own. “(The Tale of) Lady Primrose”, a duet with American ex-pat singer/songwriter Marc Miner, is a gripping narrative opening for this release. The interplay between Cole and Miner’s voices never sounds forced, and the bluesy musical fireworks are cut with a sense of authenticity rather than sounding facile. The second track, “Poor Beatrice”, takes listeners into heartland rock with a steady mid-tempo pace and occasional character-filled flashes of guitar cutting through the mix. It boasts an effective refrain, and a dollop of alternative instrumentation layered into the arrangement deepens its overall effect on the listener.
I hear three separate guitar tracks defining “Wave of Love”. There’s acoustic guitar playing underpinning the song, electric adding color over the top, and pedal steel making important contributions. Cole’s voice strikes the right note for this moment, never pushing too hard against the arrangement, and shaping her voice to respond to each lyrical turn. The loping shuffle of “The Lion and the Virgin” latches onto a memorable groove that listeners can physically connect to, and the accompanying mandolin contributions are key. Another strength is Cole’s vocal sensitivity which highlights one of the album’s best lyrics.
Her stylistic range impresses. “The Sun Song” is improbably titled for such a stunning blues workout, but it catches and holds your attention. Cole proves an outstanding blues vocalist, never overwrought, and she’s paired with exceptional lead guitar. It counterpoints her relative restraint with forceful emotional overtones that never risk cliché. “A Stolen Heart” has art-pop sensibilities that announce themselves early. Lyrical violin playing matches up well with straightforward acoustic guitar work, and the collision of the classical and folky is an excellent vehicle for Cole’s voice.
Guest vocalist Lorae proves to be an excellent singing partner for Cole during “Over Before It Started”. This sleek and expertly arranged track comes late in Of Love and Loss’ running order, but don’t overlook it. It generates an impressive amount of energy once we’re past the somewhat misleading, yet satisfying, introduction. The penultimate song, “Hide and Seek”, has inspiring literary flair and opens the door for even greater accomplishments. It doesn’t break particularly new ground to draw parallels between childhood games and the machinations of adult love/ However, Cole explores those themes with idiosyncratic language that sticks with listeners. It has the effect of literature’s iceberg theory, where the lyrics suggest more than they ever outright reveal.
Her sophomore album, Of Love and Loss, will stay with its audience. There isn’t a song on the release that qualifies as filler, and several of the compositions will likely remain definitive moments for Cole. It’s fulfilling from start to finish.
Jason Hillenburg
