On a striking 2008 debut, Charlotte Sometimes, born Jessica Poland, offers up creations that belie her mere 20 years. WAVES AND THE BOTH OF US brims with songwriting that balances the brash confidence of Liz Phair with the pop sensibility of Avril Lavigne, all sung with the breathy ferocity of Fiona Apple. Opening single, "How I Could Just Kill a Man" (definitely not to be confused with the Cypress Hill hit), hints perfectly at the whole of the record, burying subtly sinister lyrics in a lush, honeyed backdrop reminiscent of `50s girl groups.

On Charlotte Sometimes' self-titled EP, the singer/songwriter gave listeners a tantalizing glimpse of her potential, but there was always the chance that it would take several albums for it to be truly realized. Thankfully, this is not the case. Waves & the Both of Us is a sparkling work that, despite some occasional missteps, truly represents the depth of her considerable talent. Like those on Charlotte Sometimes, the songs on Waves & the Both of Us tend toward the bittersweet, but never the broken. Despite her sweet and sometimes sad delivery, Sometimes presents herself both lyrically and musically as a strong, self-assured woman, a quality that makes her songs lively and passionate no matter what their tempo or subject matter. She especially excels when making the most of her keen sense of melody and penchant for powerful lyrics. Waves & the Both of Us is full of such pieces, but several stand out, including the album's title track (a poignant piece that is delicate and wistful without coming across as overly earnest), "Ex Girlfriend Syndrome" (a playful, sweet song about heartbreak and the need for closure), and "AEIOU" (a sassy diss of a potential suitor). Each of these songs, as well as a number of others, features descriptive lyrics, playful rhythms, and extremely catchy choruses -- in other words, the confident, undaunted spirit that informs all of Charlotte Sometimes' music. She does lose some of her effectiveness and charm on a few tracks, especially those that lack melodic hooks; when the melody goes flat on "Toy Soldier" and Sometimes resorts to half-singing, half-speaking the verses, it makes for a song that is disappointingly bland and generic. Though there aren't many songs like this on the album, the rest of Waves & the Both of Us contains so many memorable tunes that those with less lilt stick out by sounding uninspired. There are also some occasions when Sometimes' backing arrangements compete with her for the song's central role -- on opening track "Losing Sleep," producers S*A*M & Sluggo should have toned down the loops, keyboards, and drums that threaten to overwhelm the vocalist during the verses. (Fortunately, this is not a consistent trend, as the songs that follow are largely free of the problem.) While the album may not be flawless in its execution, its good points far outweigh the bad and make for a powerful debut that marks Charlotte Sometimes as an artist notable for her talent, unique style, and great promise. ~ Katherine Fulton