by K. Ross Hoffman 　　Bertine Zetlitz's fantastic fifth album continues the inspired pairing with Pleasure's Fred Ball that produced the utterly masterful Rollerskating two years earlier, making it her first album not to involve a wholesale change-up in collaborators. Although her earlier albums, made with a series of distinguished pop and electronic producers, were frequently brilliant, and certainly established the strength and consistency of her musical identity, Zetlitz seems to have found an exceptionally sympathetic confederate in Ball - in any case, their partnership to date has produced some of the very finest and most uniquely realized pop music of its day, bar none. Essentially following a similar template to Rollerskating - casually sophisticated dance-pop that blends lush organic instrumentation with understated electronics, recalling '70s funk, AM pop-rock, and disco while still sounding effortlessly modern - Greyhound is notably warmer and breezier, scaling back some of the icy anxiety that had made her earlier work so simultaneously alluring and unsettling, and allowing more genuine sweetness to shine through than ever before. "Never Let You Go," a rare foray into major key tonality, wields its titular phrase, on balance, as more of a promise than a threat; "Get What You Deserve" is easy-going, Fleetwood Mac-styled country-pop with endearingly shaken-up lyrics about being caught off-guard by love, and even "Obsession," a twitchy electro groover whose title would seem to imply lyrics riddled with Zetlitz's trademark psychosexual melodrama, offers unexpectedly candid declarations of affection. It's not that Zetlitz has gone soft - there's still darkness and heartbreak here, though it's less likely to be shrouded in cryptic imagery - but she has relaxed and opened up somewhat, making this her most engagingly human work to date, even if it's far from sunny. Musically too, Greyhound is her most vibrant and forceful album, with only one ballad to speak of (the almost schmaltzy "This Time") and several of her finest dance tunes - the stellar singles "Midnight" (a sleek, sophisticated disco burner) and "500" (a quirky, minimal bump-and-grind featuring glorious harmonies and the memorable line "I have been sweet on you forever/that's why I have been stealing all your stuff"), but also the funky, slinky "Draggin' Me Down," among others. Stylish, sensitive, complex and compelling, My Italian Greyhound is, all told, a second straight masterstroke from Norway's greatest underappreciated pop auteur.