's charm, as established from the get-go on their debut album, wasn't any kind of new radicalism but the members' way around well-known rock styles to unexpected effect. Everything from third album and 's furious electric heights to 's bruised romanticism (the production especially calls to mind some of 's work for that band) has an echo here. What makes it all connect isn't simply the considerable abilities of the group, especially guitarists , but 's strong singing and lyrics both. Combining both a low-key sass and a slightly distanced, concerned tone, her voice cuts directly through the arrangements, the most upfront thing in the mix. Comparisons aren't easy to make; early makes a certain amount of sense, but is no clone. As for her subject matter, small details of everyday life, especially concerns of identity and dealing with others, form the basis of her sharp, sometimes painfully close to the heart images. with her plaintive refrain "Have I ever laid my hands on you before?" and are two of the standouts on that level. When she stops to let the music fully take over, the transition is often perfect -- is a good example, the instrumental breaks carrying the forceful feel of the words into the nonverbal. the surprise U.S. minor radio hit from the album, shows the quartet's mix of skills quite nicely. A mid-paced but lovely number with a descending chord riff a la (if not as glammy otherwise) and 's multi-tracked vocals claiming the term for herself, "because only a tom boy could rise above it," make a quietly addictive number from this fine album. ~ Ned Raggett