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When Ali Wagner opens the album by singing “careful now, things are going to get heavy,” it’s not just a warning for the next argument with her boyfriend, it’s also for the upcoming narratives of youthful relationships that are full of neurotic angst. As if that wasn’t enough, the music gets heavy too, with crunchy guitar riffs and thick buildups that boil over, all of it becoming an indelible indie pop experience.

It’s a surprise this album turned out as massive as it did, since Wagner comes from the bookish singer-songwriter world that graced coffee shop stages throughout the 2000’s, which is hardly known to be loud and extravagant. Her back-to-basics foundation remains in this 2016 release, but thanks to a fully dedicated studio treatment, there are also flourishing soundscapes and dynamics that still hit hard five years later.

There are demos of these songs still available on SoundCloud. Although they are stripped down to guitar and vocals with shoddy recording, there’s a charm in how they take on a life of their own with nothing but strong songwriting and artistic honesty. It also shows how much work went into fleshing out these compositions. There was production and additional instrumentation from the trusty studio wizardry of Charlie Vela, the classically dazzling Allen Michael, Sick/Sea drummer Cameron Scott, and dexterous cello performances by Efrain Munguia.

Even through all this, Wagner’s voice soars above the mix. Sometimes she sounds timid and vulnerable, other times passive-aggressively nonchalant, and sometimes even sings with a sneer that Sleater-Kinney fans would appreciate. No matter the theme or mood, her irresistible pop melodies and vocal performances are fundamentally sound.

Immediately, the catchy riffage from “Heavy” kicks off the album with guitars and synths that surge like lasers. Wagner sings about wanting to be prepared with the perfect argument to win her next fight. It’s one of the many moments of youthful shtick that make this album so amusing even after we’ve matured. Next, the chorused strums of “Outgrown” are just as catchy, but bring a more touching mood. She spends the song assuring someone that she hasn’t changed too much as she lists the trivial things she has or hasn’t outgrown, but makes it clear she won’t join this person and would rather stay in. “Just so we’re clear, I’m not going if you go,” she sings sternly.

Wagner’s most striking narratives are when she sings about consolation prizes from sour relationships. The assertive marching feel of “Capo 3” is a perfect backdrop for her tale of stealing an ex’s guitar capo and is determined to never give it back due to it matching all of her lipsticks and how it sounds better clamped on her guitar. If that didn’t sting enough, she uses it to play a song she promised to make for this person eight years ago. “I promise it was worth it,” she assures. In “Get Flowers,” she’s offended by her dreams of love and flowers being cut short by a breakup, then transforms the feeling into a gift for herself. “Now I got everything I need. . . what I feel’s been owed to me. . . a love song worth singing.”

The hammering hooks throughout “Cliffs” make it a standout track. She shoots down petty complaints by comparing them to her own dark thoughts. She imagines falling off a cliff and no one crying after her death. “I used to think of the things my friends would say at my funeral. I planned that shit out down to the dress.”

She returns to her MySpace roots with a vocal/acoustic setup in the humbly recorded “Loving You.” The slight clipping of her voice complements the innocent feel of the song, and as the centerpiece of the album, it’s a nice break from snarky wallowing to have a moment of vulnerability instead. She also has apprehension in her voice for the anguish-ridden “Sleep,” making it the furthest from the cheeky indie pop of the album’s introduction.

After five years, the most memorable song is “Internet Boy,” where angsty strums, crooning vocals, and a whispering cello build into a grungy chorus. The change from darkly swooning to hypnotically heavy make it the most cathartic moment of the album. Then, the six-minute epic closes with a haunting fade-out.

The Baroque-ish drama continues in the bleak beauty of “Summer,” which closes out the album. Wagner watches the destruction of a flood where the overflowing water may as well be her tears as she reminisces about her past mischief around town. The fond memories are met with loss of innocence. “We’d meet in secret and talk for hours in driveways of broken-down houses and laugh at all the kids who drink when they’re sad, now I’m a sad drinker too.”

From beginning to end, it’s brimming with personality and daring honesty, accompanied by a studio team that emphasized Wagner’s sharp hooks and engaging moods. As personal as the album is, it’s most likely an outdated impression of her frame of mind after all this time. Her friends should have different (and better) things to say at her funeral by now, but the vivid ups and downs and profound confessions are timeless.

Score: 9/10

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