Wilderness [ENHANCED] [EXTRA TRACKS]

1999's "Timbre" represented a huge step: the album sported songs such as "Bare The Weight of Me" and "Nocturne" which were not merely jazz-tinged, but modern-jazz numbers, and for all of "Whaler" and its sleek production the set "Timbre" as a whole was earthier and more about live instrumentation. She even started to delve into rockier atmospheres on "Help Me Breathe" and more notably, "The One You Have Not Seen" - a trend which can be felt on her latest release "Wilderness".

"Wilderness" is an apt title for multiple reasons. The set represents the gamut of Sophie's musical leanings without being merely tinged with any one style in any one track. It is a happy curiosity that despite an overwhelming presence of traditional and radio-friendly material, Hawkins seems the most alive and raw as she has ever sounded on any of her previous releases. Hawkins fans' will rejoice in her newfound freedom on her first entirely independent studio album release as she appears to her fans as having come full-circle musically, while yet again scoping out a vitally new creative terrain with "Wilderness".

Despite all the overt forays into different styles with respect to different tracks, Hawkins is ultimately triumphant when the development in "Wilderness" reflects her previous work as in the case of "Sweetsexywoman" and "You Make Me High". "Beautiful Girl" seems as though it is a relative of "Only Love (The Ballad of Sleeping Beautiful)".

Both compelling pop songs not only sonically call each other to mind, but also with themes about self-awareness and spiritual awakening, Sophie presents herself as epoch songwriter some ten years later. With programming reminiscent of Madonna's "American Life" but with a more melodic and friendly production, "Beautiful Girl" is so much more than "American Life" with a more relevant personal message. One could debate the lyrical intent of this song and especially "Walking on Thin Ice" ad nauseum given Sophie's adept ability.

In "Beautiful Girl", Hawkins asks "Can you still hear where you are"? Has the girl who is her own worst enemy as result of her complex about beauty already taken her own life or is she so absorbed by it that she only cares about "the light" of the spotlight in an previous lyric? Or is it merely a warning? Does "the light" refer to "heaven" or just a lightbulb in the girl's mind representing what should dawn on her? There many dimensions to the imagery that attest to Hawkins' immeasurable credit as a songwriter.

Hawkins brings to mind Walden Pond and the writings of Henry David Thoreau on "Walking on Thin Ice" incorporating the major themes in his work of simplicity and transcendentalist philosophy to make an even more daring statement about the sublime power love has over us when we give ourselves over to it despite all reason. This song with its jazzy pop production insinuates itself and is even more impactful than earlier hits. Krall and Jones should be envious of Hawkins if not for any other reason but she wrote this gem.

Hawkins even shows her ability to compete with -and ultimately best with her signature brand of pop - even the most unlikely suspects: "Open up Your Eyes" suggests Avril or even Pink a few years from now with lyrics "I wanna lay with you nude at night". The song even turns to a punk beat midstream. "Meet Me on The Rooftop" is also another great number that culminates in a figurative over-the-top roof-blowing simulation musically recalling another past glory: the soulful "Mysteries We Understand" from "Tongues and Tails".

A remix of "Soul Love" attached also shows how Sophie's material can stand up in a reincarnated form the way Sarah Mclachlan's could by way of her successful collaboration with Delirium. Vocally, the haunting Hawkins comes off a bit like the girl from Evanescence and the space-age bleeps which remind us also Madonna's work with William Orbit on "Ray of Light". In its original incarnation, the song elevates the power-ballad but yet again Hawkins raises the bar by fleshing out an already solid and overwhelming production with not merely flavors of Latin and jazz but fixtures which are important to the song and its exotic tale.

The musically adventurous "Adrian" is full of musical twists and although "Sweetsexywoman" would have been better without the foray into blues halfway by omitting the guitar in which case it would have definitively represented her current presence in the world of Neo-Jazz and how she bests the likes of - once again - Krall and Jones , it is another manifestation of how Hawkins continues to push the envelope and think nothing of blending genres on "Wilderness".

Hawkins continues to reshape her inimitable style - even if she still does not where she is going, it sure is a rewarding experience to be lost in the moment now.

Of course, the downside is that you don't get to hear the angst and grit that defined most of "Timbre" and "Tongues and Tails". The Wilderness Sophie doesn't use profanity, nor does she scream, nor does she whisper provocatively, nor does she shred a mean electric guitar, nor does she explode on the drum set. This is the kinder, gentler Sophie.