They say that the third time’s a charm, and in the case of Grammy-nominated electronica songstress Imogen Heap, her latest album, Ellipse, is the chance she needed to be recognized as more than just a one-woman band with a knack for using a laptop. For her third solo release, she traveled to Maui, Tasmania, China and Japan in search of inspiration, resulting in a collection of songs with layers of computerized quivers, sparrow chirps, hush vocals and fingers fluttering on piano keys that are sure to intrigue even the most pessimistic listener.

Some may see this as a disastrous approach to taking the reigns of today’s Miley Cyrus era, but Heap fearlessly takes risks with simplistic ballads, revealing a dark, enchanting beauty that hypnotizes audiences. Heap, who turned her childhood home in England into a studio, gives Ellipse an energetic, childlike spirit ready to tackle a reality flooded by grim secrets, swooning crushes and painful breakups.

“Wait It Out” is a euphoric track revealing delicate, airy vocals blending against the gentle plucks of a violin. “All I want, only one, street level miracle,” she sadly croons, knowing that her shattered relationship can never be mended.

“Swoon” displays her signature trippy tech melodies uniting with UFO-esque beats and poetic pleas to get it on, something one wouldn’t associate with a rendezvous. Then there’s “Little Bird,” a haunting lullaby with minimal projections, exposing Heap’s whisper, yet suddenly thunderous cries, revealing the truth of what hides inside “a picture perfect scene.” Listeners will also fall for “Between Sheets,” a love letter that perfectly captures the joys and fears of discovering love.

Truthfully, some fans will see Ellipse as bland, meaningless, background music for coffee shops, but one careful listen will show Heap’s talent for transforming electronics to poetry, a rare quality that today’s pop tarts may want to take note of.