Brenda Weiler

“Cold Weather” (Virt)

Compare to: Dar Williams, Tracy Chapman, Lisa Germano

It wasn’t long ago that Brenda Weiler sat in her home in Fargo, N.D., with her guitar, a few songs and a big dream.

Now, gripping a handful of awards, top picks and nominations, Weiler is finally settling into being quite an impressive folk singer.

With tracks like “Faucet” (Running through the cracks and through the ages / They’ve hid their faces / This desperation is lingering on) and “Trouble” (It didn’t take long ’til he went drinking and his girl walked alone / Every fire here burns forever and what once was now is not your own), Weiler bears a slight resemblance to fellow lyricist Ani DiFranco.

Her lyrics, like those of her colleague, are full of truth, and sometimes send a straight in-your-face message.

Weiler penned 10 of the 11 tracks on the album, her fourth recording. She shows true knowledge of storytelling through her quiet, mellow voice and smooth guitar.

Most of her songs are slow and somber with only an acoustic guitar and occasional drums, but she makes an exception in “Scatter” (I was walking down the street / Familiar like the air I breathe / And it all smelled so candy sweet / That I couldn’t help smiling) and “California.” These songs require a more electric instrumental feel and old-school-Liz Phair-sounding vocals.

“Cold Weather” is a disc that requires a second spin before realizing its full spirit. At first listen, this woman is nothing more than any other female folk singer, crying of pain and the hardness of life. The second time around, however, it’s easier to hear the stories and the range of emotions laced through the tracks.

This album is full of songs about leaving home, learning to love life and dealing with the emotions that go hand-in-hand with living.

Possibly Weiler’s best effort yet, “Cold Weather” sets the stage for what is yet to come from this folky female who, like her famous predecessors, is unafraid to be herself.

— Shannon Varner

Mindy Smith

“One Moment More” (Vanguard)

Compare to: Alison Krauss, Shelby Lynne, Allison Moorer

If Mindy Smith’s debut album, “One Moment More,” was a book, her readers would drool over every word. As a musical album, however, Smith’s emotional range falls short in accompanying her passionate lyrics.

For her first project, Smith has found herself in the midst of the Queen of Country herself, Dolly Parton. Parton lent her signature voice to many tunes and collaborator Steve Buckingham to co-produce.

Buckingham and Smith mixed a subtle concoction of melodic instruments, taking care not to hide Smith’s gentle vocals. Arrangements of steel guitar, mandolin and dulcimer create a country tone, but Smith’s voice is anything but twangy. Instead, she carries a sweet tune that is clear but often uneventful.

Though effortless, wistful vocals accompany love songs such as “Train Song” and “Falling” well, they don’t prove emotionally draining lyrics on the remainder of the album.

On tracks such as “Fighting for It All” and “Hurricane,” Smith deals with low self-esteem and fighting for what she deserves without raising her emotional level. Anger is extremely apparent on the fiery lyrics of “Down in Flames,” but Smith lacks the fierceness and boldness to convince the listener she is truly in pain: “I would tell you I am happy, if I wasn’t so damn sad / And the loneliness both overwhelms and keeps me empty / That’s how it’s been for a while.” Instead of raising her girlish, gentle voice, Smith maintains the softness that only works well on carefree songs.

Although Smith has difficulty raising her emotional level, she truly shines in the gospel blues hymn “Come to Jesus.” The passionate soul in Smith’s voice is intense, and when she belts out, “Child when life don’t seem worth living / Come to Jesus and let him hold you in his arms,” it is evident where she belongs.

Smith shows off her talent as a crafty songwriter, writing lyrics that come from deep within her darkest memories and struggles. However, she lacks the confidence and emotional range that is crucial when trying to get the listener to experience the emotional ups and downs she has been through.

— Katie Piepel

Ani DiFranco

“Educated Guess” (Righteous Babe)

Compare to: Mary Lou Lord, Utah Phillips, Alana Davis

Ani DiFranco, in her latest release, “Educated Guess,” takes the personal as political.

“Educated Guess” rises above the relative mediocrity of the two-CD release “Revelling/Reckoning,” and in the spirit of her last, “Evolve,” distills DiFranco’s unique voice and the talented guitar playing found throughout her catalog.

DiFranco goes solo on this CD, playing, singing, recording and mixing it by herself.

Though she doesn’t have a backup band, she layers her voice and guitar tracks, essentially accompanying herself. She uses this technique very discordantly at times to create tension within the songs, as in “Swim.”

DiFranco combines her singing with spoken word, with no less than four of the 14 tracks being poetry with slight background guitar and choral arrangements.

It is in these poems that her politics pierce through, with lines such as this from “Grand Canyon”: “I love my country / By which I mean / I am indebted joyfully / To all the people throughout its history / Who have fought the government to make right.”

This is not to say that when DiFranco picks up a guitar, her politics disappear. “Animal” rails against the way humans treat nature, explores patriotism and castigates imperialism.

“Bodily” is devoid of politics, focusing instead on the pain of her recent divorce from her husband and recording engineer. Songs such as “Swim” and “Rain Check” also mirror this sentiment.

“Educated Guess” is classic Ani in many ways, but also illustrates her growth as a musician and poet — it is not “To the Teeth” without a band.

In going solo, DiFranco goes out on a limb, but her reliance on her talents only proves how talented she can be.

“Educated Guess” retains what DiFranco essentially is, and her newest album won’t disappoint old fans even though it provides a sound divergent from her past works.

— Nicholos Wethington

The Bens

“The Bens EP” (Attackedbyplastic)

Compare to: The Eels, The New Radicals, Fastball

Although weighing in at under 15 minutes with only four songs, The Bens manages to deliver something for everybody. Not too pop and not too “arty,” this trio gets it just right.

The Bens is an indie super-group of sorts, comprised of Ben Folds, Ben Kweller and Ben Lee. Folds is a household name, but Kweller and Lee are less well-known to mainstream music fans. Kweller had a college radio hit in 2002 with “Wasted & Ready” off his debut album, “Sha Sha.” Lee is mostly unknown in the United States, but has a large following in his native Australia.

The EP, which was recorded in four days during an Australian tour, is available exclusively for download via iTunes Music Store or by mail order from www.attackedbyplastic.com. The limited distribution is presumably due to the fact that the artists are on different labels, but it is unfortunate that more people will not get to hear this brilliant EP.

All three are generally regarded as outstanding songwriters, and it is definitely the excellent songwriting that drives this album.

Despite the fact that solo albums of Folds and Kweller are fairly piano-dominated, “The Bens EP” is primarily guitar-driven. Not that this is a bad thing. The EP is not devoid of piano influence, as it ends with the excellent, though slightly depressing, ballad “Bruised.” In fact, there is a huge variety to the four songs on the album. From the melodic harmonies of “Just Pretend” to the hyper-produced ’80s glam rock tribute “XFire,” it’s immediately apparent the group has incredible range.

The only bad thing is that it ends too soon and leaves the listener wanting more of the stellar trio. There is little possibility of a full-length follow-up, due to the fact that artists are on three different labels.

Every song is outstanding. Due to the large range of musical styles and obvious talent of all artists involved, it is definitely recommended to anyone with a CD player. Although there will probably never be a full album, “The Bens EP” is great while it lasts.

— Kyle Sederstrom