With a building sheath of synth and down on it groove, Lucie Silvas digs in on “Kite,” the reckless kind of women who knows no fear. Pounding, pumping, thumping, this is a dance song about a woman getting gone, showing that the New Zealand/United Kingdom-grown songstress isn’t afraid to thrown down.

Not that everything the dusty blond lifts her voice to lands that aggressive. For the irrepressible Silvas who can tempest and coo, it’s about hitting the emotional bull’s eye that lends an immediacy to the songs on E.G.O, the utterly independent project that follows her critically acclaimed Letters To Ghosts.

“Fleetwood Mac, the Carpenters, Carole King: I love the way they write songs,” concedes the pianist who’s been an international sensation and walked away from it. “Bowie to Bacharach to the Beach Boys, Karen Carpenter to the Jackson 5 and Dusty Springfield, it’s all mixed up in there.” She laughs. “It’s like I’m doing arts & crafts with my career, like I have a sewing machine in the back of my shitty apartment. I’m just piecing and patching together all these things I love, making something else altogether.”

Working with producer and “my best friend” Jon Green, the pair excavated a nu soul/cocktail/dance’n’roll hybrid that moves through an emotional palette reflective of a young woman on the brink of the best part of her life.

For the young woman who’s seen more than most, who manages to outrun the jaded that dampen most people in the music industry, there’s a vulnerability that permeates this record. Even drawing the line, Lucie Silvas believes in humanity, in possibility, in hope. Here, Silvas’ greatest strength is manifested: not quite magical thinking, but the ability – at least in song — to make faith attainable.