The self-empowered diva breaks free of earthly restraints to float in an art-jazz universe of her own cut-and-paste design. Inspired perhaps by her pal Holly Cole, Jane Siberry shapes her surprisingly malleable voice and impressionistic lyrics to a variety of free-form moods whipped up by a skilled ensemble. "See The Child"'s hypnotic verbal and musical motifs make it a highlight along with the propulsive "Lovin' Cup" and lovely "Goodbye Sweet Pumpkinhead." It's challenging stuff for her mainstream fans, but that's okay–this is a bold, noteworthy experiment by an artist who remains bound by nothing but the beauty.

Considering the three-year delay since Jane Siberry's previous release (which reportedly saw one completed album scrapped altogether), Siberry had obviously gone through some intense soul-searching to determine where her muse was to take her next. Judging by When I Was a Boy, she ended up retreating to some neutral ground that drew on several elements of her previous work without really taking things anywhere new. This is a very personal, introspective album, its intimate textures consistent with the ambient work that production collaborators Brian Eno and Michael Brook were well known for. Even average Siberry was still better than most of what was foisted on the public as female vocalist pop circa this album's release in 1993. It was just that one had come to expect more from her – like surprises and wonder – rather than the sound of treading water.

A smorgasbord album, the cast list includes Bjork, Siouxsie Sioux, Brendan Perry, and long-term sidekick Barbera Googan. As expected, the mood is cold, often somber in tone. Only on "The Long Voyage," a springy ditty fronted by Suzanne Vega and John Cale, does the album ascend from the depths. Some of the gloom works, like in "Havet Stomar," a brilliant slow burner with B.J. Cole's pedal steel guitar and ECM artist Lene Willemark's chilling howls. "Annukka Suaren Neito" presents what must be the closest to an Eskimo rap you can get. Mark Isham provides freestyle trumpet that almost sounds like seagulls swooping the skies. The Jane Siberry-fronted "She Is Like the Swallow" is a beauty, as soft as it is light. Hector Zazou's electronics are in fine check too. The canvas expands to new textures, such as metallic percussion in "Adventures in the Scandinavian Skin Trade".

Until the End of the World is a definite contender for best motion picture soundtrack of the 1990s. With a lineup that includes Talking Heads, Lou Reed, R.E.M., Nick Cave and the Bad Seeds, Depeche Mode, U2, and others all providing original songs or new covers, it's an absolute joy. Interspersed with Graeme Revell's haunting ambient score, virtually every pop/rock track works perfectly as part of a cohesive whole. "Sax and Violins," recorded during the dying days of Talking Heads, might be the band's most confident moment, as a jazzy background shuffle and keyboards provide compelling momentum underneath David Byrne's sarcastic vocals. Crime & the City Solution could have made an entire career out of the emotional yet existential "The Adversary." R.E.M. and Depeche Mode both contribute touching ballads. "Fretless" is one of the most beautiful tracks to be found in R.E.M.'s discography, documenting a wounded relationship with subtle grace. "Death's Door" is one of those sad numbers Depeche Mode fans have grown to love, with Martin Gore handling the vocals.