2006's Bring Me The Workhorse, Shara Worden's debut under the name My Brightest Diamond, felt like a night in a luxurious tree fort. Delicately arranged strings, vibraphones, and warm guitars coated it in flirtation and wonder, even in trivial moments. The new A Thousand Shark's Teeth begins as a bleaker, creepier expansion of Worden's symphonic rock, and much as there is to get lost in, there's less to remember. After kicking off with the catchy storm of "Inside A Boy," Worden starts to flail at scattered notions and tedious trinkets. Her voice jumps through octaves, whispers, baby-coos, trills, and shrills, distracting from what may or may not be solid ideas at the heart of "The Ice And The Storm," "Black & Costaud," "To Pluto's Moon," and "If I Were Queen." Her operatic training doesn't always flatter her. If she's going to keep using the falsetto that cracks into "Queen" and the itchy, rustling "Apples," she should give people blocks of rubber to bite down on. Worden seems to achieve what she's going for on "From The Top Of The World," balancing space, ambient hisses, darkness, mystery, and melody with the patience that made Workhorse catch on. Too often, Teeth sacrifices that for experiments that translate into beautiful arrangements, but turn songs as a whole into frustrating, incomplete muddles.