No Moore

With each new album, Mandy Moore takes a step further away from her “Candy” days.

Moore’s latest record, “Amanda Leigh,” enters a whole new realm for the former pop princess. Contrary to its simplistic title, this album is darker and more sophisticated than Moore’s past releases, but her attempt at being a more unique and serious artist does not entirely succeed.
 
Moore’s choice to venture into more mature territory was not a bad call, but she did so at the expense of the catchiness that made her earlier hits worth a second listen. The upbeat “I Could Break Your Heart Any Day of the Week” is the only song on “Amanda Leigh” that hearkens back to “Wild Hope,” her 2007 album that struck a palatable balance between maturing subject matter and mellowing sound.

Moore’s breathy voice, which suited the bubble gum pop music of her past, just sounds babyish juxtaposed with these more mature tracks. “Merrimack River,” with a melody reminiscent of carousel music, only highlights how her voice has failed to age with her music.

Several of the tracks on “Amanda Leigh” seem to lack direction.  “Fern Dell,” a song about a failing relationship, fuses angsty lyrics and somber melodies to be expected from Fiona Apple or Tori Amos, with strings and big-band rhythm sequences. While each component is unique and interesting on its own, put together, they make somewhat of a mess.

“Song About Home” sounds straight out of the 1970s folk era but with some gospel harmonies thrown in – two elements that don’t blend well.

Though some numbers on the album are short on cohesion, others are sleep-inducing (and not in a sweet, lullaby sort of way). “Indian Summer,” with its plodding piano intro, and “Everblue,” which relies on a simplistic drum beat to carry it through, are two tracks best skipped.

While fans might applaud Moore for taking the plunge into less cookie-cutter material, “Amanda Leigh” is an album better left on the shelf.