We know D.C. Get our free newsletter to stay in the know.

This sophomore offering from the black sheep of the Deal brood creeps closer to Breeders territory than did the raucous Go to the Sugar Altar, but still pretty much stiff-arms the more polished efforts of golden-girl Kim. Post-rehab Kelley is a what-the-fuck kind of girl, and of the 15 tracks here only a few break the three-minute mark or even qualify as complete cuts. Like a grade-schooler trying to impress the relatives with a new trick or a silly pun—”Look what else I can do!”—Deal quickly grows bored with a clever hook or a sing-along chorus and cuts to the next song in a frenzy. Yeah, it’s entertaining and breakneck, but it’s a little annoying, too (especially after the fleshed-out “Shag” and “Confidence Girl” do such swell jobs at raising the roof). Amusing snippets include “Stripper,” with Deal trilling “tra-la-la”s as she playfully ponders a life of lap dances and licorice thongs, and “Total War,” with its trio of snare drums sounding like a high-school marching band gone sour. (For that matter, the most annoying cut is “Drum Solo,” which is just that: a weak 24-second drum solo by skinsman Nick Hook.) Buried like untarnished treasures in this eclectic toybox are two of Kelley’s finest (and slowest) efforts to date: “When He Calls Me Kitten,” with a sweet, naked vocal and swampy slide guitar, and “Where Did the Home Team Go,” featuring the most honest sentiment Deal has uttered since dropping the needle and going straight.

—Sean Daly