On her first three albums Nadler developed an ethereal, reverb-drenched brand of indie folk by fusing Hope Sandoval-inspired dream pop and the melancholic balladry of Sandy Denny and Carolyn Hester. Little Hells continues this tradition but with a few variations. To begin with, everything here is a bit more ornate, more baroque. Furthermore, several tracks see our mysterious chanteuse soaking her nimble finger picking in a haze of synthesizers ("Loner") and new wave beats ("Mary Come Alive").