Heather Duby's previous solo releases have elicited much comment about "pop sensibility". But pop sensibility is for the like of American Idols, and Duby may congratulate herself for remaining un-pop-sensible on her self-titled third full-length, which plays like the culmination of the efforts of her first and second records. Production genius Steve Fisk steps in once again to help Duby firmly grasp the organic sounds of Come Across the River, while adding a dusting of electronic notions suggested on Post to Wire. Most of these songs revolve around the helplessness of love, as if, at times, Duby can't help but fall in love ("Still Rough", "Wrestle and Cuss"). Basic piano chords and melodic violin lines bring both beauty and sorrow to "Gone Aground" and Erin Tate (Minus the Bear) drums up the building blocks for the optimistic sound that guides the best songs on the album ("Listen" , "Would Have Liked You (I'm Pretty Sure)"). The Finale, "Places Shape Lives", steps into the realm of recent Stereolab and early U2. If that isn't enough, the record includes a little bonus song in which Duby prepares for the battlefield of love. At last, Heather Duby has found her sound.

In between the fall of Nirvana and the rise of Death Cab for Cutie, scads of super-talented Seattle acts made great music but failed to break through nationally. Many quit, but thankfully singer/songwriter Heather Duby didn't, and she's only gotten better in the seven years since her sparkling 1999 debut Post to Wire. Back then she operated in the mold of Tracy Thorn or Beth Orton, draping her resonant voice and pensive lyrics over electronic textures. But on her terrific self-titled third album Duby's piano-heavy arrangements are more organic, and her vocals are grittier and more confident. There's a gothic tinge in her work, though it's more Bronte than Siouxsie, and her touring ensemble- which includes members of Seattle math-rockers Minus the Bear- brings added rhythmic coplexity live. (Michael Alan Goldberg)