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There are some models, some "pattern" in musical creativity. Some work almost always, some are stereotypes. Number one: artists do best records after a period of suffering, the music that comes from the happiness is less creative. Number two: the artists are experimental records, which draw them away from their sound, which invariably return after the album.
This "pattern" is almost always true. The previous one - derived from the romantic myth tormented artist - is a stereotype. Take "Havoc and bright lights" by Alanis Morissette.
It 's the first disc of unreleased over four years, from "Flavors of Entanglement". This came after a turbulent period, the end of a story. All this did not lead to an Alanis angry as to its origins, but a new producer, Guy Sigsworth, and (partially) in a sound-oriented electronics. Better intentions than the outcome.
Today Alanis is happy. Serena. And 'well mom recently. All the conditions of happiness, in the stereotype, theoretically worsen creativity.
Wrong, at least in part: "Havoc and bright lights" is far from a masterpiece, but it's a much better record than its predecessor. What is certain is that Morissette has changed label (after Warner, this is the first album for Sony), but kept the manufacturer has largely abandoned the electronic experiments. All this, to return to a more recognizable sound. Just listen to "The Guardian", which sound mix of guitars, vocals and "coloring" could easily get out of one of the first album, those produced by Glen Ballard. Same applies to the more obscure "Celebrity", or the solar pop of "Empathy".
