by Dean CarlsonWorried about becoming another Natalie Imbruglia for the Thievery Corporation crowd, Beth Hirsch returned a year after her debut with a soft-focused technicolor stroll through the hostels of faintly experimental revivalist folk. Interestingly, Hirsch roped in glitch pilots Black Dog for the second album's production, and it effectively expanded the acoustic Lilith aphorisms she was in danger of unwisely exploiting. This was a welcome change, perhaps because of the way the new broken-stylus electronic background beats and gentle time signatures never went too far. Hirsch's voice was still too well-pitched to have identity, and you got the sense that she thought she could repeat ******* early ear for assimilated production, but at a time when Tori Amos or Beth Orton had run out of ways to interest, the album's contrivance wasn't entirely unwelcome.