Kerry Davis wears a lot of hats over the course of Enjoy Yourself. Whether she's playing a self-styled sex-charged Lolita, a blissed out crooner, a garage rock monster, an angst ball, or even a demented Neko Case understudy, she's perfectly at home and in command. Her unique and nuanced guitar and vocal styles make for a memorable experience.

After listening to "The Weight", "Wiggle" and "Too Late", you'll actually get the feeling that you'd be able to recognize Davis's guitar in other environs. She's very well-versed in all the important rock traditions. You can tell, because she picks and chooses from all of them to make these songs her own. She leans toward post-punk rhythms and repetition, but the guitar's sound is in pretty standard rock territory -- a little crunchy about the edges, but punchy and tonal at its core. In chords, she eschews dissonance and discord for a bouncy mixture of punk and country flavors. "Pick Me Up" is definitely angled more toward the post-punk end of the spectrum in terms of structure -- note Dan Harris's robotic percussion and Miles Poindexter's groovy bass lines, not to mention a brief instance of abortive plucking by Davis herself -- and yet, ignoring the bass, it sounds like it could be a rootsy rock album. This becomes particularly apparent toward the end, when Davis's work becomes decidedly southern-fried.

"Too Late", by contrast, is on a slow burn; it sounds almost classy as Davis tips her hat to jazz with her (relatively) husky vocals. Weirdness -- animal sounds, flying saucer noises and unexpected guitar explosions -- lurks at the edges. "To Love a Bargain" is cute, playful and militant, alternating between ice cold, fragmented rhythms and warm, chugging melodies. The 180 degree turns it pulls on short notice make for impressive sonic whiplash.

But really, picking which part of Enjoy Yourself to like best means picking which vocal performance you like best. Consider "Morris the Code". Here, Davis delivers some of her crunchier, more Southern-fried guitar-work, and as she does so, she sings just a little like Neko Case. The notes aren't quite as ludicrously high, but the nasal twang is there, and the feeling that this girl is absolutely not as innocent as her voice suggests is there, too.

But then, what about "Ghost Train" and its smooth, relatively low-pitched vocals? The way Davis moves her voice around the scales here is fascinating. She also has a lot of fun being a sleazeball in "Shit Fucking Job" -- she viciously attacks your ears, and it's fun as hell. She even pulls new tricks with her guitar, adjusting it to touch whole different zones of hearing. This is almost like a different band -- one that opened for The Sick Lipstick in a seedy club one night and had a minor epiphany after seeing them play.

But wait! The country crooner is back in "The Storm"! The guitars are subdued, and Poindexter gives the song a sweet, warm glaze with his bass. And hang on! Enjoy Yourself closes on the loose, abusive, abrasive note of "How Long Do I Have to Be the Light in Your Dark World"! Who the hell is this woman?

It's a credit to Davis's talent and presence that she can pull these disparate parts into a record that feels only pleasantly chaotic. Enjoy Yourself is a powerful album, dominated by a powerful but nuanced personality. The title is clearly a command, but you won't mind obeying it.