It's a pace that would sink some records, but Bedlam's perfectly rendered, under 40-minute run time ensures that the listener doesn't suffer from a melancholy overdose.
Opening track "High" sets a determined midtempo pace that rarely wanes - it's like an acoustic version of "Drive" by the Cars with a Coldplay chorus. Predictable but effective four-chord guitar motifs are the chosen vehicle for the ex-Royal Armed Forces soldier, and when they connect ("Wiseman," "Goodbye My Lover," "You Are Beautiful"), it's like a "Dear John" letter from a lover who you know will remain a close but ultimately guarded friend. While his parched falsetto recalls Gasoline Alley-era Rod Stewart with a healthy dose of Antony and the Johnsons, it's the late Elliott Smith who casts the largest shadow on Back to Bedlam.
Soulful British crooner James Blunt's wistful debut infuses the listener - in order - with rainy-day hope, the wistful comfort of unattainable love, and finally, world-weary resignation.
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