Do I like it or do I love it? That's always been a difficult one for me with Shara Worden because there's something about her work that makes her a secret listening pleasure. Her CDs keep me company in the car, not the house. I don't lend her to anybody with an enthusiastic 'you'll like this.' There is a ludicrous eccentricity and close-call cringe-worthiness about some of her vocalisations that continue to keep her firmly under wraps. She can sometimes border on total ostentation without ever tipping over into the musical equivalent of those 'crying child' or 'exotic maiden' pictures masquerading as emotive art sometimes seen in households of the 1970s (and which are now retro-art collectables). I like that: going to the brink of over doing it; it's exciting, original. And it's so difficult to pigeon-hole Worden in any genre, even any crossover one. Each track is a wonderful acoustic landscape of strings and horns and percussive novelties puntuated by her absurdly versatile and beautiful voice. Her lyrical style is actually quite simple beneath the rich surface of sound and sometimes takes on the quality of metaphysical poetry (occasional word choices I do find a little embarrassing, although it might just be how she sings them). Again, this reclamation and re-articulation of abandoned world sentiments and parochial traditions within a histrionic, modern musical tapestry is strikingly new.I've certainly never heard it anywhere else. She does her own thing and it works very well. The final track of this album, 'I Have Never Loved Someone',is truly magnificent and brings together all her originalities in a controlled and lovely way. I smile when I hear the bed-springs sound of the harmonium cranking itself up at the start of the track, but by the end of its three minutes I'm overwhelmed and on repeat.