Brian Eno with John Hopkins & Leo Abrahams
Small Craft on a Milk Sea
(Warp)
Brian Eno’s last few solo efforts have been met with indifference, but the ambient godfather’s first release for Warp has tongues wagging. The hook is that Eno has come full circle, appearing on the venerable electronica label inspired by his own groundbreaking music. The instrumental Small Craft on a Milk Sea finds Eno and collaborators see-sawing between delicate soundscapes and surprisingly aggressive guitar workouts. Eno’s gift for blissful pastoral melodies shines throughout. However, there’s nothing particularly fresh here—especially when compared to the work of his new labelmates. With their relatively short running times, these pieces often feel tentative and half-sketched. Eno’s new trio shows plenty of promise, but for now, the most noteworthy thing about this release is the record company. —Jeff Jackson
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Paul Simon
So Beautiful or So What
(Hear Music)
Lyricist or imperialist? There’s no doubt that Paul Simon’s new album sounds like one from Paul Simon, but with the exception of two tracks—the title one and “Dazzling Blue”—the album feels like he’s importing others do the work. I’ve long enjoyed his soft, lilting voice that contrasts nicely with his sharp, witty turn of phrase, but here, much of the wit is gone. While albums like Rhythm of the Saints successfully married foreign percussion sections with his brand of melodic pop, on this album, what the drummers are up to is often far more interesting than what Simon’s offering. Instead of presenting a cohesive vision, I picture him sitting in a room of musicians he admires and doing a lot of pointing, saying things like, “Yeah, that’s cool. Let’s play with that.” —Mark Roessler
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Bruce Cockburn
Small Source of Comfort
(True North)
It’s got to be a tough go for a musician when critics hail your first records as your best. It’s an oft-heard opinion when it comes to Bruce Cockburn, though many of those critics declare him a master. Cockburn’s latest is a solid album, with a few missteps and some jaw-dropping moments, too. “Called Me Back” is so lighthearted it sounds like a mildly annoying kids’ song, while “Call Me Rose” sports the oddest premise of any narrative tune in recent memory: it involves Richard Nixon, reincarnated as a single mother. When Cockburn returns to the familiar territory of Christian-flavored mysticism (“Iris of the World”), his music seems haloed with emotional power. Likewise, the several instrumentals are absorbing high points, further proof that his brand of folk is, at its best, sophisticated, beautifully realized and singular. Cockburn plays the Calvin Theatre in Northampton May 13. —James Heflin
