On her well-received debut album, , established her sunny vocal quality, self-assured demeanor, adult-alternative band arrangements, and a knack for both astute lyrics and appealing melodies. With the follow-up, , she moves a step closer toward classic singer/songwriter form with a more reserved, vocals-forward set of songs accompanied by a more subdued band presence and orchestral textures that looked to albums such as 's and as models. This more elegant approach was motivated by challenging herself to open up and write love songs for the first time. That impulse, in turn, was inspired by her experiencing some personal revelations and starting (and ending) her first queer relationship. The resulting songs easily clear the bar for earnest expressions of affection, going into awkward, getting-to-know-you encounters, breakups, fears, and those small, secret moments when one's love grows stronger. A recurring theme is duplicitousness and, by extension, the behavioral games people play. The relatively lively soft rock entry "Cubic Zirconia" features lines to this effect, including "Don't you hate me when you see me turn it on/For some strangers or acquaintances/A few seats down the bar?" Elsewhere, she offers to "take back my hallucinations," and tears are shed while pretending to sleep. Although doesn't back off of distortion pedals on the closer, "Table," the album's generally warmer textures are evident on songs including the fingerpicked and cello-accompanied "Party of the Century"; the breakup-themed "Alexandria," a cello-rock track reportedly captured live in one take; and "Salt Crystal," which opts for piano, strings, woodwinds, and horns, at least near the end. Featuring production by returning collaborators 's arrangements were provided by ( ). ~ Marcy Donelson