British singer-songwriter Lily Allen has never been one to shy away from the press or her opinions; since the release of her debut album, Alright, Still, the fiery brunette has agonized over being “fat and ugly” on her MySpace, assaulted obnoxious paparazzi, and been upfront about her previous drug use. It might sound like any other pop diva with self-esteem issues, but with Allen it’s always been about the music. It’s Not Me, It’s You comes onto the scene after two and a half years of work and very public turmoil, but Allen’s skills as a songwriter have only improved.

Gone are the Jamaican dub influence from Alright and the ironic rap verses, and while there aren’t any huge singles here like “LDN” or “Smile,” It’s Not Me is overall a much more balanced record. Opener “Everyone’s At It” is a masterpiece of electro-pop courtesy of producer Greg Kurstin, buzzing synths and crashing drums building a dance-y mood that belies Allen’s lyrical warnings against drugs.

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First single “The Fear” is more relaxed, a gentle guitar melody flowing along with Allen’s strong vocals before climaxing into a keyboard-heavy chorus complete with orchestral flourishes of atmospheric sound, reminiscent of Kurstin’s work as half of The Bird and the Bee. Lyrically it’s one of Allen’s sharpest songs on the album, a razor-sharp indictment of celebrity culture: “I don’t care about clever, I don’t care about funny / I want loads of clothes and fuck loads of diamonds” goes an early verse before she worriedly wonders “I don’t know what’s right and what’s real anymore / and I don’t know how I’m meant to feel anymore.”

It’s Not Me, It’s You is a pop album at heart, and Kurstin’s wizard-like production and Allen’s flawless songwriting and brusqe wit make for one of the best combos in recent memory.  “I Could Say” is a piano-based ballad about the joys of leaving a shit boyfriend that wouldn’t sound out of place on a Kelly Clarkson record, while the hilarious “Not Fair” is a frustrated ode to a boyfriend who is, shall we say, amorously challenged. The country-ish rhythm and excellently placed bluegrass guitar make the song a highlight, and Allen’s typically straightforward lyrics (“I look into your eyes I want to get to know you / and then you make this noise and its apparent it’s all over”) make it a highlight among an album filled with them.

Songs travel from the politically-inspired rage of the subtly-titled “Fuck You,” a song made all the more ironic for it’s ridiculously cheery chorus of the title, complete with falsetto call-and-response, to the “what-if-God-was-one-of-us” conceit of “Him.” Allen is an unusually introspective and accomplished lyricist, coating her harshest observations with a smart layer of humor, as on “Him” where she wonders “do you think he’s ever taken smack or cocaine / I don’t imagine he’s ever been suicidal / his favorite band is Creedence Clearwater Revival.” It’s her ability to turn the most serious subject matter, from post-20s malaise (“22”) to a rude break-up on “Never Gonna Happen” that make this a pop album that is much more than a few well-made melodies and innovative instrumental choices. Not to say there aren’t plenty of those; “Never Gonna Happen”’s accordion gives the song a carnival-esque festiveness, while the spacey vibe and twinkling keyboard of “Chinese” make the song’s vision of a simple, loving relationship all that more uplifting.

For a pop album, Lily Allen’s latest is an inventive, personal, humorous, and finely wrought piece of work. There is nary a weak song on the album; Kurstin’s striking production and Allen’s ingenious turns of phrase make nearly every song a treat and a potential hit single. Closer “He Wasn’t There,” in fact, comes off as the weakest song on the album, simply because it seems an anti-climactic finish to the outstanding tunes that precede it. It’s only been a month into 2009, but with Allen’s latest venomous, hilarious collection of electro-pop rants and love swoons, the Brits may already have produced the pop album of the year.

Rating: 9/10