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"Central Reservation"
Is Beth Orton the folkie
Beck? Or is Beck an Orton with beats? Since both graze from genre
to genre like goats feasting on whatever strikes their fancy,
drawing parallels is tempting...and perhaps pointless. After
all, both artists were born in 1970 and emerged at a time when
musical categorization became an exercise in futility. English
thrush Orton's third album--like her critically hailed debut
and the Best Bit EP--prompts one to flash on an ever-swelling
range of influences. Since she's blessed with the rich, warm
voice of a true pop singer, it's easy to imagine her sharing
space on some out-of-time radio playlist with Dusty Springfield
(listen to the elegant, string-laden "Sweetest Decline"),
except Orton's music draws on '90s trip-hop elements as well
the jazzy folk of Tim Buckley and vet Terry Callier (reprising
his Best Bit cameo). Orchestration, upright bass, vibes, and
Orton's own resolute guitar give long, languid tracks such as
"So Much More" and "Pass in Time" an Astral
Weeks-like feel. All those touchstones and no fewer than six
producers might imply that Central Reservation is something of
a mishmash. In truth, Beth Orton's overriding vision is all that's
needed to create cohesion. --Steven Stolder |
