Scarlett Johansson can relax.

If the starlet has been worried about being raked over Alanis Morissette's musical coals for taking up with her ex Ryan Reynolds, well, she oughta know Alanis isn't like that anymore.

These days, the Ottawa-born singer is more mature. More grounded. More forgiving. Which is to say: Slightly less likely to boil a bunny and nail it to your door.

It could have gone either way. After her cheery 2004 CD So-Called Chaos -- which seemed to reflect her domestic bliss -- this could have been a breakup album of epic proportion.

Thankfully, this seventh studio album finds Morissette in a far better and less bitter place. Which is not to suggest she's over her irritating self-absorption. The 34-year-old still spends way too much of her time obsessively navel-gazing, poring over every moment of her failed relationships. Only now, she seems more interested in moving on than getting even.

Morissette's emotional growth is also reflected in her music. Produced and co-written by frequent Bjoerk collaborator Guy Sigsworth, these 11 cuts are a sonically adventurous work, with dance grooves, glitchy electronica, lavish strings and exotic Middle Eastern textures supporting her singer-songwriter pop-rock.

And while it's no Jagged Little Pill, even she would probably say it beats a certain starlet's recent set of Tom Waits covers. If she were still -- you know -- like that.

Citizen of the Planet 4:22

Alanis begins her spiritual journey to wobbly Indian percussion treated with electronics. When the strings and chunky electric guitars kick in on the chorus, the effect is almost Zeppish.

Underneath 4:10

Speaking of Zep, this one's about communication breakdowns. But the chiming reverb-drenched guitars and wailing chorus are typical Alanis, though the glitchy touches are new.

Straitjacket 3:08

The angry, expletive-laced lines to a lover who's driving her crazy are a glimpse of old-school Alanis. The growly bass synths and relentless Eurodisco hypno-thump, not so much.

Versions of Violence 3:36

Alanis brings lyrics about emotional domestic abuse. Sigsworth supplies a fittingly oppressive electro-rock soundscape. The result: A fine theme song for a dark psychological thriller.

Not As We 4:45

Seated alone at her piano, Morissette picks herself up after a breakup and takes the first steps toward the future -- "this time I as I and not as we." So there, Ryan.

In Praise of the Vulnerable Man 4:07

Well, that didn't take long -- Alanis has already found a new, sensitive knight in shining armour to worship on this shimmery, relaxed slice of string-sweetened folk-hop.

Moratorium 5:35

Morissette quietly vows to stop doing more of what doesn't work in relationships and change her ways. Sigsworth's twitchy beatbox and swooshy synths are certainly a change.

Torch 4:50

Ballad No. 2 finds our heroine giving in to "raw despondence," listing all the little qualities and moments she misses about her ex. Ryan and ScarJo might want to skip this one.

Giggling Again For No Reason 3:48

A minute ago she was disconsolate. Now she's in "ecstasy," manically smiling and dancing to a shimmery Madonna-pop bauble. You could get whiplash from these mood swings.

Tapes 4:26

What goes up must come down. And here comes Alanis, struggling to hit the pause button on her critical inner monologue while Sigsworth seals her thoughts in an icy glacier of synths.

Incomplete 3:30

"One day I'll find relief ... I'll be at peace," vows Morissette on this mellow synth-rock closer. After riding this emotional roller-coaster, we have to say: The sooner the better.