Nathaniel Bellows is a unique phenomenon in today’s world. In an era where consistent brands and meticulous public images abound, he remains fiercely independent and dedicated solely to ensuring the quality of his craft. A celebrated writer and poet, Bellows’ work has appeared in a variety of distinguished, esteemed publications – including the Paris Review and The Best American Short Stories compilation. His work is celebrated for its moody, introspective content – something he carries into his fledging music career.

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Having now self-released three albums digitally, Bellows has graduated into rare songwriting territory usually reserved for greats like Tom Waits, Bob Dylan, and Neil Young. His past two albums, The Old Illusions and Swan and Wolf respectively, further reinforced him creatively as an interesting contradiction. While the albums didn’t shy away from dark and ruminating lyrics, the latter was sharply contrasted by upbeat tempos and undeniable enthusiasm on Bellows’ part performing. However with his new work, simply titled Three, Bellows has introduced an even deeper humanity to his musicality. While his husky, masculine approach is still complimented by a raw, open vulnerability, there’s a lighter touch to the tone and feel of the album as a whole. Musically it makes one think less of a dark and unclear future, and more towards looking back nostalgically at a conflicted past.

This progression likely comes from a personal place in Bellows’ life. The artist has been open about how the inception of each album came from the three years his father battled a terminal disease. Therefore, the titled Three album has special significance aside from any philosophical meanderings. Perhaps its sense of finality comes from Bellows’ own sense of closure about events that have affected his life. Any conflict depicted in the album’s lyrics ends with a passive, almost relieved note. Take, for instance, the words in the aptly titled track ‘Move On’: Aim away from here, only a fool would stay if just to leave for free…Can I say this, take all we saved as kids. Bellows seems content to walk in the shadows this time.

Rather than condemn or depict, he simply shows then leaves. As a result the album is slightly colder in terms of hyper-visceral immersion compared to his previous work, albeit softer when it comes to impact. Bellows’ craft shows itself as much in how he pits his literal components against each other as it does with his ability to draw back. As a result, we are fed a unique experience that is simultaneously easy on the ears without scaling back any implications. If Bellows’ previous work was about probing the darkness, Three almost seems to sport a radical acceptance factor.

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Any great musician is fundamentally a storyteller at heart. Many have lost that trait upon entering the world of popular music. These days, flash, sex, and instantly comprehensible plug lines rule the musical stratospheres. But with the choir he’s preaching to, Bellows proves he is one of the few artists at the top of his game in today’s world. Three concludes an evocative trilogy of sorts, and for reflective listeners should prove enriching and refreshing with its profound observations articulated through a bare simplicity.

John McCall