Producers include: Ian Stanley, Pascal Gabriel, Gary Clark, Phil Thornalley.

Engineers include: Ian Stanley, Phil Thornalley, Fred De Faye.

Personnel: David Munday (guitar, flute); Gary Clark (guitar, keyboards, drums); Paul Statham (guitar, programming); Neil Taylor (guitar); Phil Thornalley (acoustic guitar, keyboards); Ian Stanley (keyboards); Chuck Sabo, Maz, Geoff Dugmore (drums); Marc Fox (percussion); John Dunne, James Banbury (programming); Viveen Wray, Tessa Niles (background vocals).

Audio Mixers: Tom Elmhirst; Dave Bascombe; Gary Clark; Ian Stanley; Pascal Gabriel; Andy Wallace; Phil Thornalley; Stephen Harris; Steve Harris .

Recording information: Crashpad; Metropolis; Olympic, London, England; Studio Milk, London, England; Swamp, London, England; Westside.

Arranger: Will Malone.

Natalie Imbruglia was an instant charm with her 1998 debut single, Torn, and expectations for a follow-up to Left of the Middle were practically immediate. Imbruglia wasn't quick to rush, however. Instead of investing in the quick pop sound she made popular on her first album, she took her time in redefining herself as a songwriter with substance. Four years after becoming an international star, Imbruglia emerged with her finest work to date with White Lilies Island. It's a record that breathes something pure, and one can sense that she has complete control, lyrically and musically. Her spiritual and emotional connection remains the same, and White Lilies Island is her reflection of the reinvention. "Wrong Impression" is sweet with its twangy guitar riffs, and Imbruglia's softness is deceiving. She's quite dark, and challenges typical notions of love and acceptance. "Beauty on the Fire" and the heavy romance of "Do You Love" continue the fight. "That Day" and "Sunlight" are strikingly edgy, and Imbruglia's simplicity and energy are intoxicating. She couldn't have rushed this album. Imbruglia has made a brilliant pop record -- contemporary, yet timeless. White Lilies Island would have suffered without Natalie Imbruglia's perfectionism, and it would have lost sight of the elegance it so perfectly exudes. ~ MacKenzie Wilson

This follow up to 1998's wildly successful LEFT OF THE MIDDLE is full of the pop hooks that propelled that album to the top of the UK and US charts; in addition the intervening few years seem to have left the Natalie Imbruglia with a somewhat more mature pop sensibility. Her voice is still reminiscent of Lisa Loeb or a less-unhinged Fiona Apple, but the Australian singer's previous eager-to-please quality is tempered by the world-weary narrative of tracks such as "Talk in Tongues" ("flowers in the bin/close this hole I'm in") that undercut the sunny textures of songs like the Joni-flavored "Satellite."

Generally Imbruglia is at her best when she's least produced; her voice has more than enough commercial appeal without the assistance of tricky arrangements. Though some of WHITE LILIES ISLAND comes perilously close to falling into PJ Harvey-lite territory, the aforementioned brooding "Talking in Tongues," "Butterflies," and the powerful, anthemic, string-accompanied "Come September" point to a growing confidence in the singer that bodes well for the future.