LISTENING STATION: Carrie Underwood, Norah Jones

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“Say Goodbye,” with its electro-pop arrangements and cooing vocals, is more reminiscent of 1980s New Wave than the coffeehouse fare Miss Jones served up with her debut. The rest of the album takes its cues from other sources. Songs such as “Out on the Road” and the moody title track sound like something from a Quentin Tarantino soundtrack, while “Happy Pills” is modern-day indie pop at its finest, all keyboard trills and robotic percussion.

Breakup albums can be slow-moving, but “Little Broken Hearts” barrels along at a swift pace. Even songs like the sad-eyed “She’s 22” manage to make heartbreak sound like something charming, and Danger Mouse decorates every song with a heavy hand, piling reverb onto her voice like a 21st-century Phil Spector and drenching the ballads with smoky, atmospheric arrangements.

Heaven help the man who broke Miss Jones’ heart. She’s never sounded more alluring than she does here.

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