Personnel: Ben Tolliday (guitar, guitars); Andy Page (guitar, acoustic guitar, electric guitar, E-bow, ukulele, synthesizer, bass synthesizer, bass guitar, programming, bass programming, drum programming, sound effects); Guy Sigsworth (E-bow, cello, strings, piano, prepared piano, celesta, electric piano, harpsichord, clavichord, organ, keyboards, synthesizer, bass synthesizer, bass instrument, shaker, tabla, triangle, tubular bells, hand claps, programming, bass programming, drum programming, sampler, sound effects, background vocals); Jess Sutcliffe (strings); Jared Nugent (piano); Sean McGhee (synthesizer, programming, keyboard programming, background vocals); Peter Freeman (bass guitar); Billy Bush, Blair Sinta (drums); The Crocked Chorale (background vocals).

Audio Mixers: Andy Bradfield; Andy Page.

Recording information: Frou Frou Central, London, England; The Village Studio Recorders, Los Angeles, CA.

Photographers: Heather Heron; Frank Maddocks; Alanis Morissette.

Arrangers: Fiora Cutler; Guy Sigsworth.

Four full years after 2004's SO-CALLED CHAOS, Canadian pop star Alanis Morissette finally returned with a new studio album, FLAVORS OF ENTANGLEMENT. While the former outing was informed by the ever-confessional performer's romance with Hollywood actor Ryan Reynolds, this '08 offering deals with the dissolution of that relationship, particularly on the piano ballad "Not As We" and the wistful techno track "Moratorium." The latter tune, like much of FLAVORS, is shaped considerably by U.K. producer Guy Sigsworth, who is best known for aiding Bjork with her icy electro arrangements. The chilly keyboard-laden atmosphere is an appropriate change given Morissette's post-breakup preoccupations, but the record is far from club-friendly--in fact, the guitar-heavy opener, "Citizens of the Planet" sounds like the singer is sitting in on a Korn tune, and the driving "Underneath" features chiming melodies that wouldn't be out of place on a Coldplay album. Although some fans might be initially bewildered by the sonic changes on ENTANGLEMENT, Morissette's signature voice and lyrics keep the album from being a drastic departure, allowing her to grieve for a lost love while expanding her musical palette.

The running joke goes like this: as soon as Alanis Morissette suffered a heartbreak like she did prior to Jagged Little Pill, she would once again write lyrics as vitriolic as confessional as that 1995 breakthrough. As any tabloid follower knows -- and really, in the new millennium we all follow the tabloids whether we like it or not -- Alanis split from fianc‚ Ryan Reynolds after the release of 2004's So-Called Chaos, an album that floated joyously on her newfound love, so it's no great stretch to see its 2008 follow-up, Flavors of Entanglement, as its opposite, a classic breakup record. And it is, filled with songs of heartbreak, anger, and regret, along with a healthy dose of self affirmation -- or at least it seems that way, as Alanis' words are harder than ever to parse, a mangled web of garbled syntax, overheated metaphors, and mystifying verbal contortions all requiring too much effort to decode. In that sense, it's a lot like Jagged Little Pill, but musically this is far closer to the muddled mystic worldbeat of Supposed Former Infatuation Junkie, thanks in large part to her collaboration with Guy Sigsworth, best known for his productions with Bj”rk and Madonna. Given his r‚sum‚, it should come as no great surprise that Sigsworth gives Flavors of Entanglement some adventurous textures and drum loops, even electronically altered voices on occasion, but this is no dance record; it's a claustrophobic, cluttered adult pop album underpinned by a hazy new age sensibility, best heard (if not best articulated) on the "Citizen of the Planet," a thick swirling dirge which serves as an appropriate opening salvo for this dense murk, where the music is almost as impenetrable as the lyrics. Coming after the streamlined Under Rug Swept and light So-Called Chaos, this return to insularity is a bit startling yet it's welcome, both for those who find a personal connection within Alanis' accidentally cryptic confessions and those who like to listen to her ramblings with their mouths agape, as this overspills with emotional and musical dissonance, the kind that made her phenomenal success on Jagged Little Pill improbable and her slow descent into high-end liberal lifestyle music after Supposed Former Infatuation Junkie quite understandable. [A Deluxe Edition of the CD was also released.] ~ Stephen Thomas Erlewine

Rolling Stone (p.86) - 3.5 stars out of 5 -- "[W]ith a vaguely New Age grandeur -- electro beats, Eastern percussion, orchestral arrangements -- amping up the drama....Morrisette is at her best on simple ballads like 'Not As We'...and the emotionally raw 'Torch'..."

Entertainment Weekly (p.68) - "[H]er most affecting moment may be the most stripped-down. A barely there piano is all the accompaniment needed on the broken, fragile ballad 'Not as We'..." -- Grade: B+

Blender (Magazine) (p.74) - 3 stars out of 5 -- "Morissette vents with some of her old flair: 'In Praise of the Vulnerable Man' has the squirm power that's her greatest strength, as Sigworth's beats help her lift the melody out of the emotional duldrums."