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The 10 baroque English folk compositions that comprise English singer-songwriter John Cunningham’s second full-length album evoke the spirit of Tim Buckley and Nick Drake without being slavishly derivative. Cunningham’s fluid, melancholy acoustic guitar is supported by cellos, violins, and organ, which give his busker-style songs an air of main-stage dignity. On “Paradise Chosen,” the melody writhes in waltz time, while the mini-orchestra enhances Cunningham’s breathy voice. His consistently tasteful, introspective verse is poetic without the flowery excess or inane banter of lesser Eng lish folkies like Donovan or Robyn Hitchcock. “High Falling” is a concise description of a painful but necessary desire to end a relationship: “The weathervane is so impatient/Move on without explanation/ And the sun has no inhibitions/ Only rise and make a decision/I am certain but I’m not sure/There’s a healing here but no cure.” Bringing in the Blue quietly approaches perfection.