Magenta vinyl. Natalie Imbruglia landed upon an interesting concept for her 5th album: take 12 songs written by male singer/songwriters and recast them as feminine. For Imbruglia, this means reviving the hazy focus of her global blockbuster Torn, a feel created with soft, strummed guitars and clear vocals, a sound that suits a middle-aged singer as comfortably as it does a young one, perhaps even a touch better. There are covers of Daft Punk, Death Cab for Cutie, and Iron & Wine, but she grafts a Mumford & Sons folk-stomp onto the Cure's "Friday I'm in Love," then gently pushes Tom Petty's "The Waiting" toward a tapped folk rhythm. Everything is so sweet and light, it's difficult to discern whether Imbruglia's choice of songs is meant to convey something greater than that these are a bunch of nice tunes. Certainly, the concept of Male suggests there might be a conceptual undertow to the album -- Imbruglia finding the femininity in masculine writers -- but Imbruglia chooses songs where sexuality is incidental; these are love songs that are easily retooled for the opposite sex. This safety in song selection and production means that Male certainly doesn't have the bite of Tori Amos' 2001 album Strange Little Girls, a record that wears its sexual politics proudly, but Imbruglia has never been an ambitious artist: she's always been a sweet, pleasant crooner and Male plays to those very strengths.