Sean Ono Lennon – Asterisms Review

“I’m ageing like wine, but like box wine that hasn’t been stored properly.” – Sean Ono Lennon, creator of Asterisms, Twitter/X (June 15, 2024). 

The 48-year-old son with a Snapchat avatar profile picture for his social media accounts may age like a boxed wine, but his music has the shelf-life of questionable milk. His first return to solo works in sixteen years hears the son of John Lennon step into the world of jazz fusion. Asterisms, the latest work from a man trying to escape the spotlight of his father by replicating his political compass and draining listeners of their time with avant-garde experiences, is nothing special. It is an affectionless neo-psychedelic trip with very little to say for itself. Joyless improvisation from out of nowhere. It feels more prog-like in effect and is a mixture of all the broad workings of jazz fundamentals. But there is no soul in it, no sense of loss or perspective dealing emotional blows.  

Instead, there are five tracks which become increasingly reliant on one instrument per track. Competent opener Starwater relies on the electric effects rushing through it as the percussion tries to break free from the thick layering given to these guitar motions. Follow-up track Thinking of M is no better. Static work and a loose feel to its space-like tones. It sounds as though it works against the introduction of classical jazz instrumentations, which pop up out of the blue here. Though it may be improvised and there is no sense of continuity, a key part of the best jazz records. But this is no jazz blues piece. Asterisms has the vagueness to its title and genre which keeps a listener guessing as to what comes next. Who could possibly predict where this one is headed? It is rather easy when the quiets of Acidalia are brought on.  

It should not take prompts from members of Wilco to take up the guitar. Ono Lennon likened himself to a padawan from Star Wars in an interview with The Rolling Stone. Our ears should be prevented from listening to those whose cultural basis for science-fiction and space-themed albums is the toy range of the George Lucas Ranch. Yet here we are, listening in to an admittedly stylish but sleek Acidalia. Astrology influences the title and theme of the album but has no presence in the music. It is there as a crux of creation, nothing more. A faux spiritual nod is needed to massage the rougher patches heard in the title track. Had the stars aligned properly then Asterisms would be better. Such is the law of the stars, or whatever toothless TikTok fandoms have influenced this work.  

Ono Lennon has learned the best way to profile his music is to recede, along with his name, into the darker corners. This is an out-there experience, an interesting instrumental spectacle which does not have the legs for a lengthier clarity or considered experience. Asterisms is fine. The build and creative experience which formed it is based on fallacy but those are dearly held to Ono Lennon. It has no identifiable impact on these tracks, more like disgruntled jams than fully formed experiences. There is improvisation and there is working out the method of what a song should say. The latter is there without range or emotive musing. Asterisms is empty as a result. Much of it sounds like the preamble to innovation. All Sean Ono Lennon has here is empty efforts.