Keren Ann’s languid orchestral pop is suffused with equal parts Parisian lounge, Golden Age of Hollywood, and polished folk song. The atmosphere is pillowy, which makes her wit — whether whisper-singing about being a starlet on a killing spree or playing wife to a painter who can’t keep beautiful girls out of their “luxury basement” — a good contrast. Here, it’s her detours (the disco-lite “My Name Is Trouble” and girl-groupish “Blood on My Hands”) that sound sharpest, while some of her more familiar moves lack the glittering arrangements that previously made them shine.