What started as a home-recorded solo project for Alabama native , moved to Philadelphia and gradually expanded in terms of sound and assertiveness, a trend continued on LP number four, . Contributing factors to its more muscular disposition include the fact that it was recorded in a studio and was co-produced by ( ), who encouraged and her band to capture much of it live as a group. That band also happens to include her sister and labelmate touring guitarist , former bandmate on bass, and 's on drums. Last but not least, the album also finds reflecting on a breakup that's provided fodder for prior releases, but here she's looking at it in the rearview mirror. The tone is that of "good riddance," but not without having been through some stuff. It opens with the churning guitars, feedback, and meaty hooks of "Never Been Wrong," which regrets putting energy into the art of arguing with an expert manipulator. Later, on the fuzz-reinforced "No Question," she refers to "An invisible race/We'll be in it 'til one of us dies." "Brass Beam" has a wearier singing "I don't want to fight/I just want to sing my songs and sleep through the night." She slows things down on tracks like "Recite Remorse," where organ tones are accompanied by more ornamental, atmospheric guitar. The more intimate "A Little More" and "Fade" rely on acoustic guitar, so it's not all rowdy, but it is all raw. She doesn't code her stories here -- there are references to diving into the Coosa River and a car trip to Brooklyn. With as forthright as ever and collaborators suited to drive home her position, hits with as much strength as emotion. ~ Marcy Donelson