Much of Michaelson’s repertoire is of the stripped-down-barefoot-ukulele-sunshine variety, and in past albums, she has it down so perfectly that it would be hard to imagine her doing anything else. Human Again, however, is a successful departure into more heavily arranged musical territory. It dives headfirst into the world of vibrant percussion, bass lines and beat-driven violin passages, making a (mostly) clean break with the gentle, dream-like quality of Michaelson’s earlier work.

The album’s first track, Fire, is just such a song. Opening with a frantic violin chorus, and then punctuated by a heavy bass drum, you can’t help but tap your foot to this story of a romance laden with risks. Even the songs that do carry a trace of gentle guitar strummings, like This Is War, are much more focused on the climbing vocals of Michaelson’s lovely voice and scattered palpitations of the percussion. The song that is best at melding both the new rhythmic nature to the artist’s music as well as showcase Michaelson’s lyrics is Blood Brothers, a track proclaiming “We’re all the same, under a different name.” The only complaint against this album, or rather its marketing, is the choice in its first radio single. The moody, understated Ghost seems like a strange choice to pull new listeners into the wonder that is this artist’s talent.

Michaelson manages to pull of the not-so-easy task of maintaining her artistic mark while foraying into new musical territory. This skill bespeaks to her songwriting talent; in short, her evocative lyrics and lovely melodies are able to transcend a style shift. The few times she does return to her acoustic origins, like in the simply lovely How We Love, the lulling guitar strums are just enough for a listener to relax before wondering what else this once again wonderful artist has to offer.

Click here to learn more about Ingrid Michaelson.