Ani DiFranco [ tickets ] is among rock music's most underrated--and under valued--artists. As prolific as Ryan Adams, but without the self-destructive streak, as talented as Billy Corgan, only with a sense of humor, DiFranco is always pushing her boundaries. Her latest album, "Reprieve," finds the songwriter in an introspective mood.

There's hardly a drumbeat to be found on "Reprieve." It is one of DiFranco's quieter, more subtle efforts--all voice and acoustic guitar, with some ethereal sound effects thrown in to bolster the disc's odd vibe. That doesn't mean she's lost her bite. Always articulate, intelligent and political, the radical young feminist still lingers beneath Ani's skin, revealing herself proudly on the best tracks on "Reprieve."

The stars and stripes take center stage on both "Decree" and "Millennium Theater," a surreal night out where Chief Justices are for sale, the ice caps are melting and "New Orleans bides her time." This is simmering, smart, progressive folk music whose lyrics recall the diatribes of Woody Guthrie or early Dylan. DiFranco's guitar playing is something else altogether--gentle but angular, with unexpected notes that cut like shrapnel.

On quieter albums like "Reprieve," DiFranco is inclined to include some spoken-word--the niche that gave her her start in her early days as a New York City troubadour. Die-hard fans will embrace the singer's musings in these moments. But, really, Ani's passion is undeniable throughout much of "Reprieve," an elegant, understated folk album that may take some time to seep in, but will stay with you once it does.