Central Reservation

Beth you’ve truly outdone yourself. Now don’t do it again.

Screw it this is the start of my reckoning where albums that are just bland get 1s, cause I’m sick of hearing boring albums I supposedly should have listed to

Great songs, well engineered

Wow - some long songs. Pleasant enough, but nothing that sets it apart for me. We seem to have to be having a run on UK music.

Not bad at all but very samey. I think if I'm in the right mood this would be perfect, but unfortunately I wasn't.

…this is an album I must listen to before I die? Apparently?

Central reservation contiene esa joya que fue Stloen car. Folk con toques popo y electrónicos (ya había colaborado y de qué forma con los Chemichal Bros. en Alive Alone) de finales siglo, donde también tuvieron cabida otras como Dido. Segundo disco , que contó con la colaboración de nada menos que folk Terry Callier , Dr. Robert (Blow Monkeys) y Ben Harper . Además de Ben Watt (Everything but the Girl) en la producción junto a David Roback (Mazzy Star). Luego seguiría con algo más trip-hop y electro-pop en el estimable Daybreaker (2002) y Comfort of Strangers (2006). Más un regreso totalmente acústico en Sugaring Season (2012) y una mezcla de toda su evolución musical en Kidsticks (2016 Sweetest decline, remite a lo que será Amy Winehouse en otro estilo y con otra voz. So much more, no termina de convencerme, aunque está bien compuesta e interpretada. Pass in time, con Terry Callier (compuesta por Dr. Robert), sí. Central reservation es otra joya que justifica el disco. Stars All Seem To Weep es una maravilla en la que se nota mucho la mano de Ben Watt. Es la cara B donde más se aprecia su valía, con toques que remiten a artistas como Nick Drake.

En 1999, une fille débarquée du Norfolk avec sa guitare acoustique et son passif de raveuse repentie a décidé de poser les bases d'un chef-d'œuvre absolu. Cet album, c'est Central Reservation, un disque immense, un sans-faute indispensable, qui mérite la note maximale de 5 sur 5. Pour comprendre le séisme feutré qu'a représenté ce disque, il faut se souvenir d’où venait Beth Orton. Après avoir traîné sa voix éraillée et lumineuse sur les productions hallucinées de William Orbit (l’inoubliable Water From A Vine Leaf) et s'être imposée comme l’âme fantomatique de la fin du premier album des Chemical Brothers avec Alive Alone, elle avait posé une première borne en solitaire avec Trailer Park en 1996. La presse musicale, toujours prompte à coller des étiquettes foireuses pour masquer son manque d'inspiration, avait alors forgé le terme de « folktronica ». Mais résumer ce que propose Beth Orton sur Central Reservation à un bête télescopage entre une guitare en bois et une boîte à rythmes Roland relève de l'aveuglement le plus total. Car ce que j'entends dès les premières secondes de Stolen Car, c'est le son d’une nonchalance désarmante, portée par un groove acoustique syncopé et une section rythmique d'une souplesse phénoménale. Quant aux arrangements de cordes signés par le légendaire Robert Kirby — l'homme qui a sculpté les paysages orchestraux et funèbres des deux premiers albums de Nick Drake — ils viennent enlacer le morceau sans jamais l’étouffer. Enfin la production d’un certain Ben Watt (duo Everything But The Girl, qui connait lui aussi deux ou trois choses sur l'art de marier mélancolie organique et modernité électronique) apporte une clarté et une rondeur acoustique qui vous prennent immédiatement aux tripes. Car c'est bien là que réside le coup de génie de Central Reservation : l'électronique y a perdu tout caractère démonstratif pour devenir organique. Les programmations ne sont plus des artifices de clubbers en descente, elles font corps avec le bois de la guitare, les peaux de la batterie et les vibrations d'une basse ronde comme la nuit. Des titres comme Sweetest Decline ou Pass In Time possèdent cette résonance d'une profondeur abyssale, une pulsation hypnotique qui doit autant au folk pastoral britannique des années soixante-dix qu'à la soul feutrée et au dub le plus dépouillé. Sur Pass In Time, la présence vocale du mythique Terry Callier achève d'ancrer le disque dans une dimension quasi sacrée. La rencontre entre l’icône soul-folk de Chicago et la jeune Anglaise crée une étincelle spirituelle brute, où le deuil et la mémoire familiale sont chantés avec une dignité bouleversante. Puis il y a ce sommet absolu qui donne son titre au disque. Si la version « The Then Again Version », remixée par Andy Weatherall avec ses boucles subtiles et son tempo ralenti, a fait le bonheur des radios, c'est bien la version acoustique d'origine qui terrasse. Seule à la guitare, Beth Orton y livre une performance vocale d'une intensité désarmante, quelque part entre la bravoure déchirée de Sandy Denny et l'instinct blues brut d'une chanteuse qui joue sa peau sur chaque accord. Les paroles ne s’encombrent pas de métaphores pompeuses. Elles parlent de l'attente, de ces terre-pleins centraux où l'on se retrouve coincé entre deux voies rapides, incapable d'avancer ou de reculer, suspendu dans un présent incertain avec pour seule arme sa propre résilience. L'album ne faiblit jamais, et même dans ses recoins les plus expérimentaux comme Stars All Seem To Weep, où des pulsations électroniques plus affirmées viennent soutenir une mélodie poignante, ou dans l'urgence retenue de Blood Red River, tout respire une liberté totale. C’est la marque des disques parfaits : rien n’est de trop, rien ne manque, aucun remplissage ne vient gâcher la trajectoire. À l'aube des années deux mille, alors que l'industrie commençait à formater ses artistes féminines en produits jetables ou en divas préfabriquées, Beth Orton a gravé un manifeste d'indépendance sauvage, intime et immensément classe. Vingt ans et des poussières plus tard, Central Reservation n'a pas pris une seule ride. Là où tant d'albums de la fin des nineties sonnent aujourd'hui datés par leurs effets de production numériques étriqués, celui-ci conserve intacte sa chaleur boisée, son humanité vibrante et sa lumière de fin de journée d'automne. Un chef-d'œuvre à ranger sans hésiter aux côtés des plus grands albums de l'histoire du folk moderne, et une œuvre de référence dont l'éclat ne s'éteindra pas de sitôt.

Det var någe kult her, likte vokalene, ganske solid, men litt kjedelig til tider

it's ok

I'm a bit of a fan of the folk electronic style, so this really works for me. I think the opening track is really strong. It starts off the album really well. And I really like Beth Ortons voice. I think she has really great vocals, and she adds a very personal feel to the music, I think. I think once you start getting into the last third going towards maybe last half of the album, it definitely feels a bit weaker and it slows down touch too much. Fav Track: Stolen Car

Aside from the occasional bit of electronica mixed in, this wasn't really for me. I'm not sure what makes this an essential listen :shrug:

It’s generally just a pleasant listen, with tracks that are good, but don’t really offer anything different. Songs like ‘Couldn’t cause me harm’ ate very evocative of the late nineties style, which unfortunately works against this album as where it probably stood out more st the time, it now feels fairly run of the mill. ‘So much more’ is so ethereal I struggle to maintain attention. I enjoyed ‘Pass in time’, especially the bass and the contrast in backing vocals. And then … we reach ‘Central reservation’ which is clearly the star of the album. It sounds fresh and different, offering a more trippy vocal over a stripped back arrangement. However it’s on the remix this song truly sings. Overall it’s a solid listen that is perfect to have on while doing something else

I liked “Stolen Car” and, generally, found her voice very pleasant to listen to. Overall, though, there just wasn’t much here that was for me.

I really enjoyed this. I feel like I've got into a terrible habit writing these reviews where I just immediately start talking about the vocals, but in this case it's the thing that really gives it's identity, so talk about them once again, I will. Typically I can get a bit frustrated by breathy floaty vocals, but not here. I think the folky twang in her voice is lovely. I was walking along to the train station wondering is she'd ever sung with R.E.M. because I imagine that her voice would be lovely meshed with Micheal Stipe (the moment the album finished it autoplayed Find The River, so Amazon Music's algorithm is mind reading again). The varied instrumentation I also enjoyed, with strings and orchestral parts. Couldn't Cause Me No Harm's plinky glockenspiel (?) sound is so familiar to me I ended up checking WhoSampled.com to see if it did originate somewhere else (or had been sampled by someone else) but no luck. I also appreciated how central and forward her vocals are in the production. One of my favourite bands purposefully buried the vocals in the instrumentation in their last album, and I'm not a fan of that style of production at all. I like the focus to be on the singer with the instrumental hugging the words, and this has a perfect balance for me. I don't know that it fully held my intention all the way to the end, but I did really like a lot of this. It's more a 3.5, but I enjoyed it too much for a 3, so: 4/5

pretty cool album. Will definitely revisit

Am I listening to another album than the one all these reviewers noted "lovely voice" on? On almost every song the vocals are atonal or pitchy ... really. It's not terrible, but what makes this so special? Songs mostly run together; nothing here is particularly notable. But, oh, it's a UK singer. Of course.

Huh, turns out that song isn’t Tracey Chapman after all. I don't hate the vibe just dont know that i need 58 mins of it and the 7 min songs sure do drag. It all feels like one boring song after like the third track.

Pleasant enough folk-pop album with a couple of electronica/downtempo elements, but it got very very samey over the course of an hour, especially since every song was at least a minute longer than it needed to be. Call this a low 6/10.

Music was fine but oh my god why was every song so long?

Very pleasant album overall that pulls off its specific mood quite well, though it all starts to blend together after a while. 'Stars All Seem to Weep' seemed like an extraordinary one-off venture into the downtempo genre that had me desperately wishing for more in its vein. Luckily, some digging led me to her debut 'Trailer Park' which I enjoyed considerably more for leaning further into the trip hop sound. She has a great voice that shines when she has some good production behind her! Standouts: Sweetest Decline • Couldn't Cause Me Harm • Stars All Seem to Weep

This isn't a bad album in the sense that the music is bad, but I think it's a poor album in the way it's constructed. Firstly, every song on here is slightly too long. Secondly, you could chop the entire first half other than Stolen Car and lose nothing. Stars All Seem to Weep takes a sharp turn into an almost trip hop zone and sounds like it could be a collab with Gorillaz or Portishead, and this brings us into much more interesting songs on side 2. However, I'm rating the album as a whole.

nice voice. Talented songwriter

Title track is epic I’ve liked her since always, impossibly cool 6ft tall Beth Orton 😊 unique sounding, emotional voice lots to say love her, although sometimes it’s too much ‘slow and sad’ I always think she was in portishead because of the similar voice - both are Beths (Gibbons in portishead) which is funny to me 😊

A drizzly day in Seattle. Slow and melancholy. The damp, cool air creates a chill that makes you want to stay in bed.

Comes roaring out of the gate - Stolen Car has been on many a mix/playlist over the years. Still total ear candy that exists outside of space and time. A few stone cold classics crop up before getting a little sleep on the back end. A truly great and unique artist who still brings it live. 3.5 stars.

Folky, soul-y ballads, a la Joni Mitchell. Decent singing and songwriting. Not much more to be said, but it's clearly high quality stuff Stars All Seem to Weep has a bit of electro influence, bit reverb beats and a synth (like that glissando synth on All That She Wants by Ace of Base) Who does she remind me of? Just Joni, or someone else too? Blood Red River has some great chord progressions Devil Song - does she remind me of the Cranberries? Title track (Then Again) is also excellent. Has a kind of post-grungey pop sound. Best track - Stars All Seem to Weep, Blood Red River, Devil Song, Central Reservation 3.5 stars - really hard to round this one... I'll call it a 4. I do really like the folky vibe, singing is amazing, and in a few places it did actually leave an impression on me

Middels kaffesjappe-musikk

2.5

2.5

It’s fine and easy listening. Won’t probably remember most of it. I Can see me liking a song or two if It came on playlist or thrown on randomly. Pretty one note but inoffensive 2.5 to a Light 3/5

Album #305 Beth Orton: Central Reservation Just like the album by Norah Jones yesterday, today I am greeted with an album that has had the ‘Starbucks music’ designation hurled at it, and just like yesterday, I come away enjoying it a lot more than I thought I would. Maybe because it’s mid-October and I’m knee-deep in pumpkin spice season, but this type of music is actually quite pleasant to me. I was expecting a pretty typical folk-pop/alt-country type of singer-songwriter album, but there were actually a lot of electronic elements that gave the songs an extra edge and made this album feel like it had its own identity. The opening track is definitely the standout, and probably the only song I would say is amazing, but other than one or two songs that never really get going, everything on this album is consistently enjoyable. A great listen, and one which felt very appropriate for the season, and it’s always nice to be surprised by an album I never would have thrown on myself. Best Songs: Stolen Car, Pass in Time, Central Reservation Worst Song: So Much More Score out of 10: 7.5

Stolen Car 3.3 Sweetest Decline 3 Couldn't Cause Me Harm 3.5 So Much More 3 Pass in Time 3.2 Central Reservation 3 Stars All Seem To Weep 3.3 Love Like Laughter 3.2 Blood Red River 3 Devil Song 2.7 Feel to Believe 2.8 Central Reservation (The Then Again Version) 3 Score: 3.083333333

This is an album that I owned and played a good bit. Stolen Car was a huge song and my gateway to Beth’s music. What was interesting about this listen is what I didn’t remember about the album. Quite a few tracks don’t hold up, but there are other beautiful songs like the title track, Pass in Time, and Fool to Believe. Overall it’s a strong if uneven album but doesn’t maintain the momentum set by that intro.

Stolen car

Liked her voice but didn't really connect with the songs

I was pleasantly surprised at how much I liked this. It's not really in my wheelhouse, but it was a good listen. Here "folktronica" sound is certainly different. She moves seamlessly between hip-hop beats and slow folky acoustic jams. Her lyrics are good and she has a good voice.

Yeah sure

Good album

Really big fan of whispery girls hushing about how much they love

I thought this was nice! She has a lovely voice. Very 90s. A nice listen.

This project reminds me how much I didn’t care for the music coming out in the late 90’s. This one is kind of forgettable. Background music for Charmed and/or Dawson’s Creek. 2 stars

sounds like the singer from the Cranberries

Reminds me of Eddie Brickell with a folk adjacent acoustic melodies.

May have ranked it lower another day, but just had my heart broken so this album hit different.

Stolen car

It was fine. Nothing really stood out to me. Would I listen to it again? Not unless I absolutely had to

very good

El otró día hablábamos con mi señora sobre qué música pondrías de fondo en un café como para que les guste a todos y no moleste. Le dije pop folk en inglés. Pondría este álbum genérico. A nivel sonido no está mal pero tampoco me causa algo. LEí otras reviews que decían que si el cólor beige fuese un aĺbum sería este. Estoy de acuerdo.

3/5

5: I will happily play this album anytime 4: I may occasionally play this album of my own free will 3: I will happily listen to this if someone plays it in the background 2: I will tolerate this if it is playing in the background 1: I will leave the room if someone plays this in the background Starts of really strong....Stolen Car is a playlist worthy song. Enjoyed it overall, but it feels overly long and never really reaches the heights of the first song again.

incredibly beautiful/instant for me.

People have been calling it bland, and that's not totally unfair. I would say she has a superb voice and I liked the album, but definitely not challenging on anyway and lacked interest variety works bring. So, she'll get a middle of the road score as I certainly didn't hate it, nice enough.

I'm sure I'm sold on this sort of music. I have had quite a ambivalent experience towards to singer-songwriter music, so I don't hate it, but I find it this one doesn't compel me much other than some brief catchy moments. It's quite lush and Beth has nice quality to her singing voice. Ultimately I just don't think it's a must-hear. Highlight Song/s: "Pass in Time"

Never listened. Expectations: None - Verdict: Alright - I like the intro of the first track, some of the sounds are very interesting. As the song kicks into gear it becomes less intriguing and falls into a fairly standard track. The songs are all quite good but do sound somewhat similar. I like Couldn't Cause Me Harm and So Much More is also nice. In general I don't have much to say, the album passed me by a bit.

At first I thought this was going to be shitty and boring. The opening stretch felt too quiet and slow, and I almost checked out. Then something shifted. The album kept pulling me forward, track after track, until I realized I was still listening and actually caring about what came next. It is chill and emotional without forcing anything. Beth Orton’s voice sits in a soft, slightly weathered place that makes the songs feel personal. The arrangements move between spare folk moments and gentle electronic touches, and that mix slowly becomes more interesting the longer you stay with it. What seemed plain at the beginning turns into something warmer and more involving. The production is clean and unhurried. Nothing is overdone. The space in the recordings lets the mood breathe, and that quiet approach ends up working in the album’s favor. Central Reservation is good and more interesting than it first appears. It rewards a bit of patience.

I like the 90s sad lesbian music. I really do. But this didn't really do it for me. All the songs sounded the same and it sounded overly produced and clean for the style. Also very long.

Great voice that's also very distinctive. That's a surefire combination for success in my eyes. The quality of the compositions themselves gets a little choppy in the back half of the record, but the way the instruments and vocals are performed is pretty great. Stolen Car is surprisingly poppy and full of texture and complexity. I guess I'd expected something more drawn back, more focused on acoustic guitar. But this song rocks. Love the high-tension, semi-bluesy melody and the conviction with which Orton delivers it. Then Sweetest Decline provides us a pretty dang powerful ballad for so early on an album. It contrasts really nicely with the opener and so demonstrates versatility right off the bat. The strings are a little cheesy but get the job done, making the song sound straight out of a 40s Disney tune (but with better singing and significantly improved production). The vibraphones are easily the star of Couldn't Cause Me Harm, a track that otherwise feels a bit hard to get into. The outro, after the main vocals fade out, stands out too. Very dreamscapey, a little psychedelic. So Much More doesn't do as its title suggests, instead acting as a very extended 6/8 coda of the previous track. I struggle to connect with Pass in Time until the texture really ramps up a couple of minutes in. The female-male harmonising is very strong and the texture's swell, followed by a drop-off, is not something I expected. In contrast, the title track does not dress to impress – all five minutes are sonically very similar – and it's the first miss so far. Stars All Seem to Weep has a fresh, modern EDM feel that I would hate if it were faster, but works surprisingly well at this slow, steady tempo. The synths don't contribute much except by providing harmonic context, but at least they vibrate. I love the high melodic synths between the vocal sections, though. I wonder if Lana Del Rey took inspiration from Orton's material. Love Like Laughter is as sunny and (arguably) poppy as its name suggests, though melody-wise it leaves a little to be desired. Blood Red River does much better, fitting a gorgeous minor-key melody with some similarly beautiful strings and acoustic guitar. One of the highlights for sure. Unfortunately, Devil Song bears a double burden: not only does it follow Blood Red RIver, but it sounds near-identical. Seriously. Play a section of one followed by the other. As standalone songs, both are great, but as part of an album experience? Give one the boot or I quit. Feel to Believe is alright, though the high guitar(?) takes the cake. All the cake. But wow, does the music pick up at the end. The adapted title track is so, so much better than the original. This is the first time I've ever liked a remix and disliked an original when both were created by the same artist. That echoey synth in the back, the fresh lively atmosphere, the glittery guitar, Orton's clean, gorgeous vocal... It's all fantastic. 3/5 Key tracks: Stolen Car, Sweetest Decline, Central Reservation (The Then Again Version)

9/10

OK

Very listenable lovely album

I consider myself to have been pretty locked in on the Lilith Fair types of the Beth Orton era, but I've never even heard of her?? This album is pretty boring to me. Even Stolen Car, far and away the biggest song on this album, isn't sticky.

4/10 - honestly very dull, hotel lobby/restaurant music

Pleasant. Not for me.

weirdly country

Why is this on here?

Beth's got a great voice. Sort of reminds me of Joni Mitchell. The opening track (Stolen Car) was pretty great and I thought maybe this album would surprise me. No such luck. The rest of this was just sort of sleepy for lack of a better term.

I wish more people would make a song about the Devil

Kind of nothing to say in this. In one ear out the other.

I did expect a lot more out of this record being that I knew Beth Orton from Where Do I Begin by the Chemical Brothers. Also the folktronica label was already very intriguing as I've heard it been done well by The Books, Everything But The Girl and Beth herself. But this honestly felt more like a folk pop album than a folktronica album. Maybe I'm mistaking Beth Orton because I thought she would slide all over acoustic beats, but it's more soulful than that. What's obvious here is that the woman has a beautiful voice, no kidding on that. I thought it would be a bit cooler - more like Walking Wounded but less club-oriented. Nonetheless, it's fine and that's satisfying (7/10, 3/5 on this scale)

This was a beautiful album and I really feel like you can see the roots of what later acts like Feist and Laura Marling would wind up pursuing.

Pretty gorgeous, sort-of folksy record. What sticks out is how dense and lush the production can be, especially on the first side; I mean, just listening to the song 'Pass In Time,' it feels just so grand, like a ginormous tree growing and evolving before your eyes. It has that lively, nature feel, in a Joanna Newsom sort of way. This lush acoustic and rustic quality makes the album remarkably easy to listen to. And Beth just has the gentlest voice, and whether she's singing over a trip-hop beat like on 'Stars All Seem to Weep' (an out-of-place very '90s track here, but still one of my personal favourites on here), or some moody, brooding acoustic playing like on 'Blood Red River' or 'Devil Song', she manages to just absolutely entrance me; her vocals are the highlight here. And I can't not mention the opener 'Stolen Car' here; just an absolute bop. Those strings just sound so rich, and they're used so tastefully as well. So yeah, this is an easy listen, but as a trade-off, it's not really doing much bold, rather just doing this sound exceptionally well. Can't knock it for that; especially when I really enjoyed my time with it.

Bought this and other Beth Orton albums back in the day and saw her live. Was a lovely to revisit an old favourite.

No. Ok. This is another album that admittedly improved with multiple listens and when I had some idea going in. While I am not entirely won over, I believe my rating is going up from a 2 to a 3. On another listen this may really be a 4. It has seriously beautiful moments. I believe I felt it was badly overproduced the first time through. I did not feel that way this time. I think the production showcased Beth’s lovely vocals well. I think my issue is that it feels… derivative. And It loses my attention by the end. Let’s see how it goes next time. 3 Boolean: False- still, but glad I heard it and am giving it another chance.

One hour of boredom. Finally done

There is a craft here that I can appreciate, but this is not for me. For folk music like this, I prefer a more intimate, warm production. There is something about the recording that feels too produced which makes the album feel cold. Earlier in this project I got Suzanne Vega's first album. That is the cozy, warm production that really tip the scales for me enjoying this type of music. It's not bad by a long shot, just something I won't come back to.

She’s like Natalie Merchant AND Sarah McLachlan! And once the percussion and G-funk synth kicks in on Stars All Seem to Weep, flashes of early Dido! Unfortunately the songs with percussion are the most interesting this album gets and the rest is oh my god sooooo samey, downright boring and doesn’t really move me. There’s not much going on other than some acoustic guitar and the occasional strings. I know nothing of Beth Orton or her legacy but i gotta think there’s a better representation of her supposed “folktronica” sound than this? Okay Feel to Believe was FUCKING GREAT actually. Why on Earth isn’t it more like this? Also the end-of-record remix of the title track is definitely more my speed. A total shame that arguably the very best of this record is also the very end.

Not bad, not great. ★★★+.5

Sort of interesting but won’t be remembered in 20 years

English Female indi singer songwriter meets folk, in theory I should love it of at not least like this … but I didn’t. I also did not hate it The best and worst thing I can say is I experienced it.

This was a really good album I really liked all of it and i feel like the sound was really nice. I cant say any songs really really sutck out to me or were so unique that it would ellicit a 5 but the album is really solid.

Me like it.

its an alright album with some beautiful songs, but not suited for a thursday afternoon at work. a bit too much depth for that.

If one gets three slower albums in a row the quality gap between them comes more clear.

I played her first three albums to death when they came out Something about that voice just worked for me at the time Great to hear again

I'm not one for the slow acoustic stuff, and that still goes for parts of this album, but when it got infused with the nice beats? Great stuff. Favorite Track: Pass In Time - I loved the vocals from the second singer on this one, as well as Orton herself.

Not bad for sipping coffee and listening on a Friday morning. The xylophone on tracks like Pass In Time inject this album with some flavor that it severely lacks most of the time. At times, it feels like a more approachable version of Bjork.

This is a nostalgia pick for me; I got a warm feeling just seeing the cover. But I also think it holds up. Her voice is not as powerful and plangent as EmmyLou or Patty, but it's still got depth and emotion without needing to belt everything. The production does a good job of creating little works for each tune. This album always holds me, so it deserves to be rewarded.

Beth Orton has a fantasticly consistent discography, and I'm always impressed when I dip a toe in. I appreciate that she backed off but didn't completely lose her trip-hop elements. This album was excellent and one I'll return to. While I'm here, two Four Tet remixes from her Daybreaker album are well worth seeking out ("Daybreaker" and "Carmella").

Great album. Probably my favourite Beth album. Was a fan as soon as I heard Water ftom a Vine Leaf.

Reminds me of a mix of everything but the girl and Norah jones! I enjoyed this one quite a bit. 3.5/5 ⭐️ 246/1089

A strange one. Parts of it are psychedelic, swirling indietronica and very good indeed. Other parts are almost amateurish. Especially some of the singing. It could have been a really cool album with a bit longer in the oven maybe.

Possibly could be a factor of my mood while listening to this, but I found it mostly dull. There were elements that stood out, but for the most part i found it rather beige. Pass in Time was possibly my standout song. Nothing amazing, but pleasant. Not going to delve deeper into her back catalogue. 3 stars

Another one that blows past 5 stars.

Personal enjoyment: 3/5 Relevance to this list: 3/5

literally # LOVED!

Laid back evening music, not going to set the world alight but then does everything have to

Another introduction. Somehow I like it, even I'm not always into the high vocals and it is nothing really remarkable. Weak three stars. favourite: "Stolen Car", "Stars All Seem to Weep" 2,5

I quite liked this, the music was very cool but I wasn't completely in love with her vocals.

No reservations