Hurts Like Hell

The songs shift internally, parts arriving a fraction early or late, harmonies that don't settle before moving again, and you can hear people listening to each other in real time. The record is most convincing when it leaves space: Kitchen barely holds onto anything at all, no bass tying it down, and lifts without trying. Lucky goes the other way, louder and more fixed, like the room got smaller and nobody noticed. Feist slips in alongside her on Living With It, not quite harmony, more a second thought running in parallel.