Moore’s latest, Amanda Leigh, does nothing to free me from my painful and embarrassing dilemma. The album does head for a slightly different neck of the pop sugarscape : Moore has said she was inspired in part by Paul McCartney’s Ram, and as that would indicate, the languorous washes are leavened with a good bit more pep and fuss. But the basic algorithm remains the same: seduce, sucker punch, repeat — and not in a good way. “Song About Home” is a fine, jazzy Joni Mitchell impersonation; “Love to Love Me Back” on the other hand, demonstrates with a numbing finality that even mixing in Joni Mitchell can’t redeem crappy country radio tropes. “Merrimack River” is a pretty enough melody with an importunate and irritating waltz tempo; “Merrimack River (Reprise)”, though, resets the tune from guitar to piano and strings, adds some minor tunings and for a minute or so you’ve got a nice collision between Debussy and a carnival. “I Could Break Your Heart Any Day of the Week” is another absolutely egregious country radio clunker. “Those calendar girls, they got nothing on me!” Moore throbs, with a calculated spunk.

Amanda Leigh is fickle and flirtatious. If I had to pledge my troth to one track on this album, I guess it would be “Everblue,” an aching dirge soaked in amorphous longing and regret. Moore’s singing is her finest on the album. From the moment she comes in a perfect half-beat early, she emphasizes her breathing, and the heavy in-out seems to slow the pace even more, until even nonsense doggerel like “I have felt the ground, I've seen the seeds /Out of which grew golden wings” seems weighted down with meaningful melancholy.

Of course, some genius sprinkled in additional sighing wind effects, which are both dumb in their own right and tread dangerously close to self-parody. It’s probably just as well, though. If too much of my faith were restored, I might be tempted to buy her next album. No good could come of that.

Recommended Tracks: “Everblue,” “Song About Home,” “Merrimack River (Reprise)”

-Noah Berlatsky