So far, YouTube has launched the careers of many aspiring artists with varying degrees of success. Two years ago, singer-songwriter Marié Digby posted a video of herself singing an acoustic cover of Rihanna’s No. 1 hit “Umbrella,” which catapulted her into YouTube stardom. Now signed to Hollywood Records, Digby is releasing her second album, “Breathing Underwater.”

Through her videos, Marié has demonstrated that she can in fact sing, but for some reason, she completely misses the mark on this album. On “Breathing Underwater,” Digby’s voice sounds weak and off-key. It’s clear on the title track that she’s trying, but her voice essentially just falls flat and leaves the listener wondering what happened. And “Know You By Heart” and “Come Find Me” find Marié in a similar position vocally.

Aside from her vocal problems, Digby also has problems with the production throughout the album. She tries to switch up her style, mixing her usual acoustic guitar with more electric, synthesized sounds. It certainly makes “Breathing Underwater” more interesting, but it also makes a mess of some of the songs. The highly synthesized sound of “Know You by Heart” takes a stab at modern pop music, but ultimately lacks the hard bass that populates today’s radio, leaving the song sounding outdated. Meanwhile, the production on “Breathing Underwater,” while not bad, sounds generic and boring.

On the other hand, Brian Kennedy’s production on “Machine” and “Overboard” makes the two tracks the highlights of the whole album. The much more modern-sounding R&B- and hip-hop-influenced songs show that Marié can indeed release quality material and fit on current pop radio. “Overboard” in particular works really well with Marié’s voice. The song switches back and forth between a crunk-rock guitar rhythm and a lighter, more R&B beat. In the process, it uses both her strengths and weaknesses as a singer to its advantage.

The album “Breathing Underwater” isn’t all bad. In the majority of Digby’s songs, the lyrics save what could otherwise be lackluster songs. “Love With a Stranger” is not overpowering in vocals but succeeds in telling the emotional story of a one-night stand (“I let go with a stranger/ Just to see if I still feel”).

On “Feel,” Marié’s vocals continue to strain, but thanks to the production (by the Clutch) and the lyrics, they fit into the mood of the song. As she asks her boyfriend, “Are you alive?/ Show me you’re human/ Can’t you feel?” the listener can hear the desperation and pain in her voice’s strain. That said, not all of the lyrics showcased on “Breathing Underwater” have such an impact; the album’s ultimate song, “Crazier Things,” borders on cliché in its insistence that “crazier things have happened” than people falling in love (like bombs going off and tidal waves).

Marié Digby’s sophomore album, “Breathing Underwater,” is not bad by any means, but it isn’t a good representation of what the singer has to offer. Overall, the songs that she has been given miss the mark and leave Digby sounding vocally weak. The major problem on this album is the material. Marié has proved that with the right songs, she can knock it out of the park. Someone just has to give her that chance.