There’s something to be said for musicians who shrug at the occasionally arbitrary genre restrictions and just sort of go for it. Here’s a tip of the hat to Jane Price for not being stuck in one mode. Having started her musical career as a drummer in a teenage punk band, she eventually became an in-demand cello session player for a wide variety of UK acts. Somewhere in there she also found the time to star in a British television series (Art of Survival), release a book based on her adventures in TV land, and of course, launch a solo recording career under the moniker of Bird. The last on that list has resulted in her third album, the self-released Figments of Our Imagination, produced by longtime Rolling Stones producer Chris Kimsey.

Drafting the Stones’ producer for a cello player’s album doesn’t seem a logical choice, but Bird’s vision is beyond her main instrument. In fact, she went the 100% solo route and played every instrument on Figments. However, the biggest surprise is that she didn’t go for some type of neo-classical, pop-rock hybrid. Instead, she’s recorded an album that swerves all over the lanes. At various points, she channels icy gothic pop, indie dance pop, dreamy indie pop, and some folky pop reminiscent of the first two Beth Orton records. In an anything goes environment, Kimsey is probably the one unifying force. Bird has also been quoted as saying that Kimsey also introduced her to gear that became the backbone of the record, so perhaps it’s more of a natural fit than expected.

Also unexpected is how the cello takes a relatively backseat to other elements. It’s there, but when it does show up, it’s in a supporting role rather than lead. As a whole, Bird seems to be more concerned about the big picture than standout moments. While songs like “Stereotype” and “Drink Drink Drink” have a sing-along quality to them, they don’t feel like proper singles. Such songs are like album cuts that don’t need the context of the album, and the record is like a collection of singles that play better next to each other than standing alone. There aren’t any particularly weak songs on the record, but neither is there one song that would compel the listener to play it on repeat. It’s a bit of a head-scratcher: an album worth the 37 minutes of playing time, but without one song overwhelmingly compelling for three or four minutes. At the end of the day it’s a solid, but conflicting listen.