Of all the Norwegian electronica chanteuses in the world, Kate Havnevik is probably my favorite.

I first discovered Havnevik back in 2006 with her debut record Melankton, a dreamy collection of electronica-infused tunes produced by the ever-amazing Guy Sigsworth (Britney Spears, Alanis Morrissette) and Carmen Rizzo. She’s also the voice behind my favorite Röyksopp production (and one of my favorite songs of all time, ever), 2005′s “Only This Moment.”

After releasing her Me EP back in November 2009, Havnevik partnered with PledgeMusic last August to raise money for the mixing, master and production for You, her much-anticipated full length follow-up to Melankton (as well as donating a portion of the funds to cancer research). It worked: By the time it was launched in August 21, the album was already 100% funded on September 7, and released to all who pledged donations on October 10.

Now, the record has been picked up for physical and digital distribution worldwide by Continetica Records on March 12.

The lead single from the album, “Mouth 2 Mouth,” finds the singer once again pairing off with Sigsworth, diving deep into chilly ambient waters: “Calling your name/You’re diving again/You are my sunken friend,” Kate croons across the tripping electro-organic beat, recalling the multi-layered bliss of quirky UK alt-electro songstress, Imogen Heap (who’s also worked extensively with Sigsworth in the past as Frou Frou).

“Mouth to mouth and head in sand/I am holding you,” she delicately coos during the chorus. The heavy breaking beats also seem somewhat dubstep inspired, similar to Lights‘ gorgeous 2011 effort, Siberia.

All in all, it’s yet another aural treat from the always enchanting Ms. Havnevik. Listen and swoon!

Kate Havnevik – Mouth 2 Mouth by katehavnevik

“Mouth 2 Mouth” will be released on February 20. (iTunes)

In December of 2008, 19-year-old singer Diana Vickers was prematurely eliminated from the fifth season of the UK’s X Factor.

Within months after her departure however, the young singer was already creating a healthy amount of buzz around her debut–enough to nearly overshadow that of her former competitor’s efforts, Alexandra Burke and JLS.

The buzz was due to an ever-expanding rumor list of drool-worthy collaborators and musical legends, including Guy Sigsworth, Starsmith, Chris Braide, and Cathy Dennis. As the news trickled down, the promise of these recording sessions grew greater, as fans waited to hear what the quirky singer was quietly cooking up in the studio.

Then came the release of the singer’s debut single, “Once,” an instantly catchy, thrilling rush of explosive choruses and big bass beats. The single proved that Vickers’ odd, hushed delivery and near-broken vocals lent themselves perfectly to pop, causing the song to rocket to the #1 spot on the UK Singles Chart in late April of 2010. Her debut album soon followed on May 3, which also hit the #1 spot on the UK Album Chart the following week.

Songs from the Tainted Cherry Tree is incredibly solid electro-pop package, colored by an unconventionally raspy voice and a youthful spirit. Neither dance music nor torch song balladry, Vickers’ album is a refreshing blend of bright electronic hooks and classic crooning, refusing to be characterized in either direction.

With glittering, multi-layered electronica-inspired songs like “You’ll Never Get To Heaven,” “My Hip,” and “Remake Me & You,” Vickers follows in line with such artists as Ellie Goulding and Imogen Heap) in forging the somewhat newly founded genre of indie electro pop. The songs, which feature extensive production and wild, whizzing noises, mesh together to create a whimsical soundscape complimented by cheerful crooning and dizzying melodies.

“The Boy Who Murdered Love,” set to be the next single released from the album, is among one of the most immediate standouts on the record. In the song, Vickers recounts a love gone sour with the most biting of lyricism and pained delivery: “You’re the boy who murdered love,” she begins, “cold hands and a heart of stone. You’re a Midas in reverse, you’re the king of pain and hurt.” Everything about the song burns with broken-hearted anguish, resulting in one of the most delicious of the electro-pop confections on the record.

“My Hip,” which features Vickers herself taking a turn on the trumpet, is another highlight. Taking a break from the lush, ethereal electronic sounds for a brief foray through frantic, skipping beats and trumpet flares, the singer charms her way through a gleeful crush. It’s both adorable and addictive.

Vickers’ only cover on the album is also a delightful surprise for music fans, The Sugarcubes‘ song, “Hit.” Vickers’ version blends in effortlessly with the rest of the record, replacing the groovier original beats with bright, poppy synthesizers and swirling electronic beats. As it (unsurprisingly) turns out, the singer’s voice takes well to Björk‘s throaty yelps, making it sound more like an original selection than a mere karaoke attempt.

The ballads, however, are a bit more temperamental than the uptempo offerings. “Four Leaf Clover,” for instance, is an overly soggy misstep that, aside from the song’s lonesome verses, never fully redeems itself from a rather cliched chorus. The same applies to “Me & You.”

It is only with “N.U.M.B.” and “Notice,” two incredibly sophisticated slices of adult pop, that Vickers truly raises the bar for the rest of the album and firmly establishes herself as more than just a pretty voice. The proof comes three and a half minutes into “N.U.M.B.”, as Vickers tackles the final repetition of the chorus expert delivery, emitting a soaring, heartbreaking final note that comes crashing down. Chills.

Vickers’ debut is far more exciting and listenable than most of what’s come out of the X Factor/Simon Cowell hit machine as of late. Songs from the Tainted Cherry Tree is a highly listenable, engaging album of lush electronica that proves why Vickers is much, much more than simply a finalist on some reality show.

…then Songs from the Tainted Cherry Tree is going to be one of my favorites of the year.

That is, unless the other seven songs are all shit.

But judging by the already dependable producers list (Starsmith, Guy Sigsworth) and the sampler songs I’ve already listened to, Vickers is about to blow up on the pop scene in a very big, very refreshing sort of way.

Don’t worry Muusers: I have, in fact, survived the Circus of Britney Spears. Sure, there’s been some scrapes and claw marks along the way. I’ve been manhandled by a duo of evil clowns, nearly fed to the lions and tigers, and somewhere along the way, I distinctly recall being forced to slap a drunken hooker. Luckily, I managed to elbow my way out from under the tent flap…Some might even say I lived to tell. And so, the adventure begins:

Click “Read More…” for the track-by-track, or continue on for the overall analysis.

“Womanizer”
It’s the proper opener for the album, providing great promise for what is to come. It’s been played to death around the country (Thankfully!), and I’m grateful for all of the success it has amassed. However, in comparison to the other fifteen tracks, “Womanizer” is comparably mediocre. It’s a teaser of a comeback, though intensely devoid of the richer quality stemming from lead-off singles like “Gimme More” or “…Baby.”

“Circus”
The album’s title track also happens to be its highlight: I found it impossible to move forward from “Circus” without having to repeat it three times. You’d think the excitement would stall at the sweat-drenched, anticipation building bridge, but no: The chugging, ringtone-ready chorus comes storming in with an awe-inspiring amount of attitude-infused energy, roaring in like a classic Britney stormer: “When I crack that whip, everybody gon’ trip, just like a circus.”
Once the track breaks into its all-too-brief middle eight, B takes to the floor. “I’m runnin’ this,” she proclaims across the squeaks and squeals, providing for what could only be an epic dance sequence when finally performed live. “Circus” is absolutely instant; an unstoppable explosion of energy and sound that deserves a killer amount of promotion and attention. With any luck, this will shortly become iconic.

“Out From Under”
Britney’s version of the Joanna Pacitti original translates into a beautifully breathy mixture of Brit’s near-breakable vocals and melancholy delivery. Thanks to the soothing addition of Guy Sigsworth’s layered, organic electronica and twisted guitar flairs, “Out From Under” is by all means gorgeous. However, as her number one fan, I am morally responsible to dish it out as needed: The vocals are far too safe. Britney Spears is, and I will defend this with my last breath, a wonderful singer. Sure, she tends to teeter-tot her way through her live ballads with enough nervous warbling to force anyone to hold their breath until that final note is reached, but she’s still demonstrated her studio ability to belt in the past (See: first album.) So, when I found B traveling up to that safe, secure upper register for the higher notes of “Out From Under,” I was initially disappointed. The soft crooning of “My Baby” is understandable, but here? I could have done with some yelling. Still, I cannot be mad, for this is undeniably a beautiful track.

“Kill The Lights”
“Kill The Lights” is very much in the same vein as Blackout, sonically speaking. This isn’t surprising, considering the track’s producer, Danja, was responsible for many of the highlights from her last album. Now, first up for discussion is the producer’s voice-over announcement at the song’s opening: Many fans are wary about his proclamation of Britney’s newly formed status as “Queen of Pop,” and let’s face it…So am I. So let’s pretend he doesn’t say it, okay? After the first three glittering tracks of Circus, the up-tempo urban stomper comes tearing in with a jarring air of cockiness along with its thick smacker of a beat. In all honesty, “Kill The Lights” would have probably performed better on Blackout. Nonetheless, Britney’s scorching verse vocals, the track’s addictive thumpa-thump beat, and the many memorable lyrical moments (“Is that money in your pocket, or you happy to see me?”) make the song entirely too good to be ignored.

“Shattered Glass”
With the combination of those electro-glitch opening beats and Brit’s sexified chants of “hoo-oh,” the opening of “Shattered Glass” is already far too much anticipation to bear. Playing like the glittery interpretation of her unreleased “She’ll Never Be Me,” “Shattered Glass” is a major teaser of a track: The excellently crafted, whirling bridge takes us nowhere and leaves us hanging dry, falling one chorus short of perfection. Aside from a tantalizing beat breakdown near the track’s finish, “Shattered Glass” never fully resolves itself into a complete track. Nonetheless, the sound is incredibly in sync with classic Britney or Oops…Britney, providing a great wash of nostalgia upon first listen.

If U Seek Amy
First, the bad news: Regardless of what Max Martin claims, this is not the greatest track of his career. That title will be awarded to either “Since U Been Gone” or “…Baby One More Time.” Enough said. Now for the good news: “If U Seek Amy” is probably one of his best.
If you haven’t already caught the obscure song title’s ulterior meaning, try saying it three times fast. No? Try it slow. Still nothing? Fine: F-U-C-K me. Yep…Giggle it out, because it’s just as delicious as it appears. The stomp-happy, horn-heavy swayer saunters in with a delicious amount of cheekiness, proving to be as much fun as the title suggests. I can’t thank Max enough for this one, and more specifically, for scribing the line, “All of the boys and all of the girls are begging to If U Seek Amy.” It’s destined to be a classic Britney moment. Then there’s that “Oh baby, baby, baby” trill throughout the slowed middle eight. Is that an allusion to the duo’s original masterpiece? I sure hope so!

Unusual You
Bloodshy & Avant have answered a fan boy’s prayer, and the results are most bountiful, creating a brooding piece comparable to the singer’s most mature track to date: “And Then We Kiss.” Intentionally over-processed vocals mold Britney’s vocals into a most unusual, minor-key swept alien voice, slightly reminiscent to that of Kylie’s “Speakerphone.” It’s still quite a stripped piece, entirely fragile as Britney ponders her impossible love: “Didn’t anyone tell you? You’re supposed to break my heart, so why haven’t you?” Adding the vocals along with the ghostly, Enya-esque background breaths and the forlorn piano chords…It’s enough to reduce a boy to tears.

Blur
“Blur” seems to be the one track that’s received the most widespread criticism as far as I can tell, ranging from utter love at first play to puzzled disinterest. For me, it was fairly easy to immediately embrace “Blur” as the dizzying, clouded continuation of In The Zone‘s “Early Mornin.” “Turn the lights out, this shit’s way too fucking bright,” Britney murmurs into the drifting first verse. The track spins round and round in its electronica-infused manner, somewhat reminiscent of Rihanna’s “Rehab.” “Blur” is very modern and very well crafted; a splurge of slipping memory and incoherence.

Mmm Papi
The first of the two songs created by Nicole Morier of Electrocute, “Mmm Papi” is just plain silly. A briefly ballistic combination of twinkling electronic beats, electronic guitar riffs, and, much to my delight, many signature Britney sex yelps and shouts. Nothing in the song compares to the middle eight breakdown however, as the singer takes to the mic and declares: “Now see, I’m mommy…And that makes you Papi. And that makes us lovey…Ow!” she squeals before the track bursts back into its trippy electro-twinkles. Completely fun, completely ridiculous. How I’ve missed this!

Mannequin
As soon as it enters the airwaves, “Mannequin” declares itself to be an strictly business Britney affair with its dance-floor prepped beats and smooth talking, nonsensical verses. I’m still slightly mixed about the choruses howling cries of “Scream!” and “Cry!” (It’s a little frightening, to be honest!), but the intoxicating lyrical looseness of the song is pure, slippery seduction. “Mannequin” is the type of song I want memorized immediately, because it’s probably a whole lot more fun when you can sing along. The middle eight also offers another delicious dance break down opportunity for Circus, securing “Mannequin” as one of the album’s most immediate, dance friendly tunes. On a side note, does anyone else hear elements of Frou Frou‘s “Must Be Dreaming” within Britney’s vocal delivery/processing? It’s uncanny!

Lace & Leather
“French fingertips, red lips, bitch is dangerous,” Lady B breathes as she sashes her way into her sassiest attempt on the album. The backing tune is pure ‘80’s, though I’m having trouble pinpointing the exact source: There are elements of classic Madonna (Even hearing a bit of “Dance 2Night” from her latest), an ever so slight bass-and-horns swagger of Grace Jones, and some definite Control era Janet Jackson moments. By the time we’ve entered the chorus, I’m completely sold. Why? The “Push It” inspired breathe-and-gasp background vocals, morphing the track into an all sass, stripper-esque stomper. And how about that brief electro-guitar solo? Yummy!

My Baby
With the opening lyric, “Tiny hands, yes that’s you,” I’m willing to bet the vast majority of non-hardcore listeners will chuckle and skip over to the bonus tracks. I’ll admit…Even I winced for a moment. Honestly though, it’s incredibly difficult to be critical of Britney’s self-penned ode to her children, considering its importance to her. “My Baby” is a wispy, paper-thin ballad aided by some minor Sigsworth’s strings, drawing the regular edition of Circus to a close. Moreover, “My Baby” the most representative of Britney’s essence: It’s impossibly pure, flowing with soft, well-intentioned warmth and innocence, a final reminder of the pop princess’ ceaseless fragility.

Radar
Sadly, the tenderness of “My Baby” is quite literally ripped apart with the introduction of the blippy, shrieking synths of Blackout’s stomping success track, a completely unfitting addition to the Circus lineup. Hearing it alongside the other fifteen tracks only serves to highlight Blackout’s bleak frigidity, as “Radar” invades the airwaves with its repetitive, bleating blare. Rumor has it that the track was included to make up to the producers Bloodshy & Avant, who were promised a proper single release of “Radar” last year. However, due to Britney’s personal affairs, the release never came into fruition. While the ordeal makes sense to me, it’s still difficult to accept this all-too-intrusive track into the bunch.

“Rock Me In”
“Rock Me In” is deeply rooted in the musical styling of its writer, Nicole Morier, who comprises one half of Electrocute, which is probably why the track that would have fit in perfectly with the electro-retro duo’s latest EP, On The Beat. “Rock Me In” is a pleasant, swirly trip across the galaxy, energetic and flashy like an intergalactic beach party. I don’t find it strong enough to be an album track, but I’m quite glad this one saw the light of day.

“Phonography”
Oh, how I’ve missed phone related songs! The delicious raunchfest known as “Phonography” offers up some less than subtle references to…Well, what else? Good, old fashioned phone sex. Another track that vaguely brings Kylie’s “Speakerphone” to mind, “Phonography” operates like the slutty older sister of In The Zone’s bonus track, “Don’t Hang Up,” adding elements of dirty, Euro-Disco and chanting taunts. I absolutely adore the track, and I find its exclusion from the main tracklisting to be a true pop injustice.

“Amnesia”
Recalling the greater moments of Gwen Stefani’s solo career, “Amnesia” is a ‘80’s tinged, headstrong stroll directly into the territory of “cool.” With the help of Lady GaGa, Britney slips into a slinky, longing little vocal routine that completely works for her, even though it’s an entirely new sound for her to explore. Another track unjustly subjected to the status of “bonus,” “Amnesia” should really be up there with the best of ‘em.


Somewhere between the chilly, ice-coated electro stings of “Break the Ice” and the gritty, slap-happy bass of “Get Naked,” Blackout suddenly ran cold. The chirpy, cheerful chanteuse that I knew and loved now somehow found herself wedged into the confines of a dark, frigid vocoder, battling her own inner demons at the time. It was a cold, dark album, devoid of soul and spirit.

Now don’t get me wrong…The music was there—In fact, Blackout remains Britney’s sonic peak. Even Circus cannot compete with the instantaneous, ferocious quality of the Blackout session tracks. However, Britney Spears was not featured on that record. She was credited, she was singing on those tracks, but there was nothing familiar to be found.

One year later: With a refreshed image and a recovered sense of hope, Circus offers the fans a proper comedown from the tumultuous experience over the past four years: It’s a a bouncy, bubbly romp, happily hopping between killer choruses and delicate verses. With a mixture of In The Zone’s exploratory pop and Britney’s seemingly unapologetic camp quality, Circus is what I had assumed Blackout to be in the first place.

I know that now, compared to the impossible standards set by Britney’s prior release, some fans will inevitably feel the pangs of disappointment as a result of this album’s comparably tame sensibility. However, those looking for a richer, colorfully diverse experience will find solace here. From the pervish, wacky space vibes of “Mmm Papi,” to the ultimate floor commander known as “Circus,” to the sass-n-boots, glittering ’80′s stomp of “Leather & Lace, Circus offers a little taste of everything.

Yet as odd as it sounds, the greatest gift of Circus is that the album remins wonderfully, humanly flawed. Unlike the processed-to-perfection robotic acrobatics of Blackout, the missteps and flaws pour out from the Circus sessions: The songs are hardly as instant or accessible (“Blur’), incomplete (“Shattered Glass”), and even off-putting to casual listeners (“My Baby”). Yet in this way, the experience feels legitimate, allowing a listener to find beauty within the flaws.

With a world tour in the works for early spring ’09 and a scrumptious schedule of promo appearances merely weeks away, Circus has got the musical goods packed to keep the energy rolling for a lengthy amount of time. As a fan, I couldn’t be happier with the output: Circus is Britney’s return to grace, both in form and functionality. Not only because it demonstrates the sly confidence of the Britney of yesteryear in stunning dancefloor stompers such as “Circus,” “Mannequin,” and “If U Seek Amy,” but because of the album’s promise for an eventual musical evolution: “Unusual You,” “Phonography,” and “Blur” all offer hints at this subtle maturation; only time will tell if it will now blossom into something deeper.

Recommendations for the next go around? Stick with what you know, and allow them to push you even further: Bloodshy & Avant, Max Martin, and Guy Sigsworth have all grown with you Britney, and your continuing collaborations are shining examples of these wonderful relationships.

Above all, Britney Spears has proven herself to be the entertainer I have always adored and will continue to love. The album is sweet, sexy, and entirely fulfilling. Perhaps the definitive album of the year, Circus delivers in its purpose: Pure, unapologetic pop unto its innermost parts.

DL: Britney Spears – Circus
DL: Britney Spears – Phonography
DL: Britney Spears – Trouble

A-ha! Here we go…The track details are a rollin’ in.

“Out From Under” is a gorgeous tune…Very “Where Are You Now?” for Britney. Adding in that signature Sigsworth flare of Eastern-tinged string work, I could envision the equivalent of some “Everytime” fan worship occurring in the near future. Until then, let’s wait and see, ladies and gents….

As far as the future of Blackout is concerned, no one can be quite certain of what lies ahead. There are a few conflicting reports kicking around cyberspace at the moment, both equally plausible and somewhat reliable. First off, AccessHollywood is reporting some direct quotage from Larry Rudolph, apparently explaining that “Radar” is indeed the next single, with a video being shot next week in London.

“The theme is her and her girlfriends are going to be looking all around London trying to find a boy who she met in a club,” Rudolph told the New York Post’s PopWrap. “Every time they think they have him, it’s someone else.”

Spears will also head behind the camera for the clip, co-directing the video, Rudolph confirmed.

“She will be behind the camera as much as possible; she wants to make sure it’s exactly right,” he said.

Exciting, of course. But just as that report surfaced, Mr. PopJustice had this to say on his forums:

“Sony say that there will be no video for Radar and that Radar isn’t actually being released as a single. Apparently that’s it for Blackout now and Britney’s in the studio working on new stuff.”

So that’s that. My opinion? I think the Larry quote was fudged…I don’t think it’s the real story. I’ve seen her recording lately, I know the label is pleased–I think the new era is now beginning.

So what has been confirmed? The brief cameo for the new Pussycat Doll‘s video for their comeback single “When I Grow Up,” due to be released sometime next week. It’s going to be a small little nothing appearance–just her riding along in a car and waving to the girls. Small steps, I suppose.

Most exciting of all though is this little news flash: Guy Sigsworth is returning to the producer’s table for the upcoming album! Sweet, wonderful glee! Check out the bit in this article regarding the solo career of Korn frontman, Jonathan Davis:

When Sigsworth comes to L.A. to brainstorm with Davis this month, he’ll also spend time in the studio with Spears. He’s produced three songs for her, including the 2004 hit “Everytime.”

“It’s weird to think I’m doing him and Britney at the same time,” he says. “I don’t know if I’ll try to persuade them to do a duet together. That might be pushing it too far.”

Sigsworth & Spears is a whole lot of love. Lots and lots of good news. I can hardly wait…Bring it!

If you weren’t already aware, Alanis Morrissette‘s got a new record out, and it’s quite good. But don’t take it from just me…take it from me and my guest writer, RJ (AutomaticTLC).

RJ:

I live the American dream and can back this up with one simple trait that over two-thirds of Americans all share: I haven’t listened to an Alanis Morrissette album since Jagged Little Pill. With that being said, as soon as it was let out that this forgotten rock star was teaming up with the lush and lovely Guy Sigsworth, Flavors of Entanglement automatically jumped on to the “buy this now” list.

Alanis could care less about the opening paragraph of this review, because according to track number one, she is a “Citizen of the Planet,” not just the United States. African, Middle Eastern and modern rock influences electronically thrive through this absolutely flawless aggressive down-tempo vibe and sounds like something that could be played over the opening track of an epic movie. A Natalie Imbruglia-esque “Underneath” plays after.

Flavors of Entanglement‘s highlight track is not buried too far into the album. “Straitjacket” is five steps up from Britney Spears‘ “Piece Of Me,” and grabs the listener from the beginning industrial grinding synths, angst filled lyrics, and the line, “I don’t know who you’re talking to with such fucking disrespect” all the way through to a bass drop, when the track then explodes into an angry and emotional diary that vows, “I swear you won’t be happy till I’m bound in a straitjacket.” Well Alanis, I always did like you better when you were a raging psychopath. Ryan Reynolds (Alanis’ ex) must be shaking in his boots.

The music your ears will moan over doesn’t stop in the insane asylum. “Versions of Violence” follows with eerie dragged out verses and is offers a call out to any sort of violence, lamenting that no matter how small of a violent act is committed, a mark is still left on that person. “Not as We” smooths things out with a solemn piano melody. Its a nice break and allows you to turn down the volume, as the prior two tracks demanded that you cranked it up.

“In Praise of the Vulnerable Man” dives into more happier territory and offers the epic “Moratorium” to build and lead you to think back of Frou Frou‘s “Shh” and “Psychobabble” songs off of their wildly popular Details album. From here on out, the album pretty much follows in the same path as its been going on, as “Torch” offers yet another piano track and “Giggling Again for No Reason” which sums up every aspect of the album, as it offers an electronic haven, as well as a down-tempo groove and a small bit of guitar. Giggling not only gets respect for its super cute track title, but for its eclectic energy.

“Tapes” starts out like something that experimental group Pink Floyd would take a stab at producing if they were still together and trying new things in the studio and continues to keep an ambient-like state, while still staying true to the electronic-rock sound that drives this album. Haunting background vocals that start toward the middle of the track and then resurface towards the end make this song a special gem in Flavors of Entanglement.

Sadly, “Incomplete” sounds extremely incomplete and could have easily been replaced with something else to finish the album. Lyrically, it has everything that usually ends out an album that is this amazing, however, the lyrical melody of the verses offers a childlike atmosphere, as does the acoustic guitar sound, but until this point, the album has been strictly mature-adult sounding. Why bring on the extreme happiness now? Doesn’t make sense, however, the chorus offers layer after layer and has subtle Imogen Heap-like background vocals, which is a plus.

Overall, the album is like this: you know when you’re out in the cold and someone keeps punching you over and over again and it hurts extra hard in the spot they keep hitting you because your body is borderline numb? Flavors of Entanglement offers that punch and while its not the same “I will burn down your house motherfucker” momentum that her debut album offers, its the best thing since.

Note: Please make sure to play this album through your stereo. It sounds so much better than listening through computer speakers.

Brad:

“I don’t know who you’re talking to with such fucking disrespect,” the Canadian songstress growls off the top verse of “Straitjacket” the third track from the upcoming album, Flavors of Entanglement. And in that moment, there’s little doubt of what’s already been established: Alanis Morrissette is at her prime when pissed. It’s a fact that’s been beaten to death within mainstream media over the past ten years. But unlike the ultra-angst of Jagged Little Pill and Supposed Former Infatuation Junkie, discontent is only a minor theme of the Flavors experience. There’s contemplation, restlessness, and pure happiness…all components of Alanis’ dizzying array of emotions in the past few months.

Written during the break-up period of her engagement to Ryan Reynolds last year and produced only a few months ago, Flavors features an array of emotions that have only recently been tapped. As she’s explained in recent interviews, the album is very much a snapshot of the very recent experiences in Morrissette’s life. With the help of producer Guy Sigsworth‘s signature gothic, stringed tinglings of electricity, the songs featured here offer a stunning variety of sound–perhaps her most diverse collection yet.

Morrissette is still a brilliant storyteller, and tracks like “Underneath,” the lead-off single, illuminate her talent in its exploration of the inner arguments that make their way out into the grander scheme of things. There’s the breathlessly beautiful, simple piano ballad “Not As We” which showcases a more uncommonly seen vulnerable side, while “Versions of Violence” exists as a menacing almighty eruption of discontent. In fact, it’s difficult to go through a track-by-track review, as each song is so wonderfully crafted.

One particular, unexpected standout from the pack here though is “Giggling Again For No Reason,” which might as well have been an album track right off of Imogen Heap‘s epic Speak For Yourself. It’s beautifully listless and teeming with richly layered sound in the same style as the gloriously talented Ms. Heap. “Tapes” too is an outright triumph, featuring an out of body-like experience into the mind of the artist herself. As the album glides into its final throws, this electro-lite masterpiece is an impressive source of delight.

Flavors is probably her finest moment since her breakthrough album released ten years ago. I could recall at least eight tracks off the top of my head that I would classify as instant successes, which is an incredibly rare occurrence for a single album. You’ll certainly be seeing this one featured in the “best of” write-ups later on in the year. With lyrics as searching as that of Supposed Former Infatuation Junkie, jubilant moments of So Called Chaos, and captivating, raw emotion reminiscent of Jagged Little Pill, the album is an laudable collection of things past and a marker of maturity for the artist as diverse and talented as Ms. Morrissette. A true artist, indeed.

On a whim, I visited Alanis‘ site a little earlier today to see if there were any updates on the upcoming album, Flavors of Entanglement. To my great surprise, I found a little diary applet on the main page, filled with pictures and content that has been added on a daily basis. Not only that, but the lyrics for the new album songs, including “Citizen Of The Planet” and “Not As We” are also scattered between the pages! Head to her site now and check out all of these tiny pieces of the new album now. There’s so much to see and do, your senses will be pushed to the limit! I know I peed a little.

Click below to stream a snippet of the very Guy Sigsworth-y “Moratorium”, which promises to be a triumph when released in its full glory.