Sissel has waited six years and 10 months to release a new solo album since "Innerst i sjelen."

But is the album as good as many expected? Here is the album, track for track:

1.) WEIGHTLESS
The only melody which is left from the USA-recording, but in an entirely new version. The albums only definite #1 - a clear 6 (out of 6). If the album needs a "hit," it's this song which must be released as a single. It alone can make Sissel known internationally. Since, opposite of what many believe, there are few outside Norway who have any idea who Sissel is.

Beautifully arranged, super melody where Sissel sings like a goddess about a love which can fill you and make you forget all sorrows and problems. The producer, Jørn Dahl, has hit the bull's eye with careful use of loops and electronica on this track.

Rick Chertoff, who was the producer of the USA-recording, was involved at least as songwriter of this melody which reminds a bit of Irish folklore.

2.) CARRIER OF A SECRET
This one wins you over after a while. At first it's irritating because of what seems like unnecessary choral arrangements and a melody which seems rather anonymous. But after a while it grows on you. Sissel sings effortlessly and beautiful.

3.) SHOULD IT MATTER
The song which sticks. A refrain you remember. Could also be a single. Exquisitely arranged and produced. It's impressive that young Lene Marlin is behind such a grown up song as this. Sissel really uses her voice on this cut.

4.) ALL GOOD THINGS
The title track signed by Morten Abel. The album's Sarah Brightman. This is a song I'm not so interested in, but Sissel gives Brightman, in truth, competition in her own field. A melody which the female fans will entirely fall for. Abel himself is on the recording as guitarist.

5.) LÆR MEG Å KJENNE (TEACH ME TO KNOW)
Traditional, religious sound. It suits Sissel, and the compisition represents a welcome break in style. The album should have more of such breaks from format. At any rate, it's the only song in Norwegian; I hope it's also on in the international launch. This makes Sissel an exotic element out in the big album world.

6.) KEEP FALLING DOWN
More Sarah Brightman-like. Sissel switches between whispering forth the text and singing out the refrain.

The melody is well suited to show the breadth and register of her voice, but is not among the album's strongest tracks.

7.) BETTER OFF ALONE
Sissel sings country! But she'd have won if she'd presented this simple melody as something other than a middle-of-the-road affair. It would have been a welcome style break, if she'd cut out the violins and replaced them with folk instruments, such as acoustic guitar, dobro and fiddle.

8.) SARA'S SONG
Sara is the name of Sissel's second - and husband Eddie's fifth - daughter. You hear her daughter's debut on the album, eight months old on the track's intro. Deep and genuine tribute to all mothers, which Sissel has also co-written.

9.) ONE DAY
The radio single which has not registered at all on the hit lists, and is all too near Celine Dion's clearly better "My Heart Will Go On." Funny that Universal would send this out as the promo single since it's the album's weakest cut. But the boys at Stargate (who wrote the song together with Sissel) clearly see our song queen as capable of taking over where Dion has treated herself to a break from her artistic life.

10.) WHERE THE LOST ONES GO
This oft-mentioned duet with Espen Lind is downright painful. According to Sissel the chemistry between them was fantastic, but it doesn't come through on this track, which is a hopeless case. No melody and Espen Lind is, as the title suggests, completely lost in Sissel's company.

11.) WE BOTH KNOW
A calm and intimate ballad, written by Lene Marlin, which doesn't leave behind any greater impression and gives bit of a dragging conclusion to an album which offers several greater moments, but which also has it's share of weaknesses.

The lack of more breaks from format is the most obvious problem. Why Sissel never can sing a song with a little tempo is remarkable. For as all Bergensians, the lady certainly must have the temperament, or...?