Miss Halfway

Marked by Anya Marina's bitingly funny lines delivered in a deceptively cutesy voice, Miss Halfway is a startlingly confident and effective first album. "Clean & Sober," a celebration of finally getting over someone you wouldn't mind seeing "die a fiery death" and built around a brilliantly buried hook at the chorus, announces the feel and style of the record — whip-smart and acoustic enough to play at any coffeehouse. What may come as a surprise is Marina's ability (and desire) to make the listener laugh even as they envision their ex under various forms of torture. While there are comparisons to be made between Marina and the equally insightful (but tinged with sarcasm) early work of Liz Phair, Marina's music is more immediately accessible (and ultimately inviting), evidenced by the producers of teen film phenomenon Twilight: New Moon enlisting the infinitely likeable singer-guitarist to write a song for its soundtrack. Miss Halfway may open with a trio of fantastic cuts, but the strong songs keep coming, with key track "Sociopath," and highlights "Fantasy" and "Someday" all rounding out the second half of the album.