Central Reservation
Is Beth Orton the folkieBeck? 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 haileddebutand theBest BitEP--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 withDusty Springfield(listen to the elegant, string-laden "Sweetest Decline"), except Orton's music draws on '90s trip-hop elements as well the jazzy folk ofTim Buckleyand vetTerry Callier(reprising hisBest Bitcameo). Orchestration, upright bass, vibes, and Orton's own resolute guitar give long, languid tracks such as "So Much More" and "Pass in Time" anAstral Weeks-like feel. All those touchstones and no fewer than six producers might imply thatCentral Reservationis something of a mishmash. In truth, Orton's overriding vision is all that's needed to create cohesion.--Steven Stolder