By the time of 2000's , was still finding ways to reinvent her music. While the album's sonics were even smoother than on traded her previous record's moody character studies for direct songwriting that feels even more genuine on . As on her previous collections of sketches, 's strategies for her songs are clearly mapped out. Aside from the trip-hop-tinged beats on "A Place for Us" and "We Float," there are few drastic differences from the demos to the finished versions, but even when the instrumentation is as simple as and her guitar, it never feels like anything is missing. This raw minimalism heightens the songs' intimacy, particularly on "This Mess We're In," where sings alone instead of being joined by , and on the somber sensuality of "Beautiful Feeling." 's undercurrent of happiness -- one of its most surprising but welcome artistic choices -- jumps out loud and clear on a throaty rendition of "Good Fortune" and an emphatic "This Is Love." As demos, the album's rockers feel lean and unencumbered: 's spine-tingling wails and fuzzed-out guitar have all the crackling immediacy of a live performance on "The Whores Hustle and the Hustlers Whore." Elsewhere, tributes to the power of New York City like "Big Exit" and "Kamikaze" pay homage to and hint at the energy that was about to burst forth from acts like . While 's glossy rock and straightforward ballads were different than anything else in 's body of work, the album's demos remain consistently entertaining for fans who want to hear her music come into being. ~ Heather Phares