The most immediately striking aspect of Ani DiFranco’s new double album Revelling/Reckoning is the packaging. The CD case is a multi-colored colored box of yellow and blue, folded intricately to cradle the two compact discs of similar colors within, with accompanying photo and lyric booklets. At first, it is a bit difficult to open, but unlike many situations in life, the cover does allow for an accurate judgment of the content within. The original packaging is a tangible manifestation of the original and catchy style that Ani exudes in the 29 new songs that she offers up in this double album.

Revelling/Reckoning was be released by DiFranco’s Righteous Babe Records on April 10. DiFranco heads her own label to provide herself the freedom of releasing an album whenever she has enough new material. As a result she is able to focus on the musical and political aspects of her efforts rather than about contracts and money.

The music industry is lucky to have such an ambitious artist, for DiFranco’s new album is a truly fascinating mix of styles and sounds, always keeping the listener interested and involved. In half of the songs on each disk, Ani becomes a veritable magician, playing a a small orchestra’s worth of instruments. In the rest, Ani is accompanied by the live band she performs with while on the road, as well as musical guests Maceo Parker and John Hassell on horns and Lloyd Maines on pedal steel.

DiFranco’s new release is not just a double album, indeed it is almost two separate records released together, one named Revelling, the other Reckoning. However, the separate titles and colors of each dics give insight into the music contained within.

Revelling is orange CD, and contains son that are edgy and upbeat. DiFranco and company begin with “Ain’t that the way,” a jazz-funk missive in which the bass and trumpet dominate. The style is reminiscent of smoky jazz clubs, which feature a hodgepodge of instruments competing for solos, but melding together in a logical fashion.

Still slightly confused by the first track, the listener encounters “O.K.,” a song that again incorporates the bass and the drums, which will have you swaying in your seat. The low, rhythmic sounds are relieved by the lyrics and an electric guitar that spits out an daring, catchy melody.

By far the best song on the Revelling album is “Heartbreak Even,” which, despite its resemblance to DiFranco’s earlier work, still incorporates the wide variety of sounds that her band has to offer. Although the music is memorable, the lyrics are the highlight of the song: “It’s a heartbreak even situation/ nothing lost and nothing gained.” DiFranco’s poetic skills are nicely showcased within her songs.

Revelling is balanced by the more mellow and poignant lineup on Reckoning, whose songs are more melancholic and conducive to introspection. Acoustic guitar and the piano combines to create appropriate accompaniment. The highlight of the second album is a track titled “Imagine That,” during which the narrator describes how she can not control the overpowering emotions and conditions that she encounters. Not only are the metaphors clear and powerful, but the acoustic guitar merges with DiFranco’s voice to invoke a more painful and melancholy feeling. Another high point is “School Night.” Although not divergent musically from the songs that precede it, the lyrics are by far the best on the entire record. The song describes the process of a woman citing irreconciliable differences with her lover: “You are a party and I am a school night.”