So when bedtime FINALLY approached, I figured I'd give a preliminary listen to Ms. Skaugen's Lost and Found, before I actually checked into my personal Nocturnal Reprieve Ho-Jo. I was out like the proverbial light (okay, it wasn't one of those nifty, guilt-free-ish, energy-saving bulbs, go ahead report me to the Branjelina Brigade)�even before the end of the first cut: "Adeline".

Which is no reflection of this artist's talent (more on that later, really. I haven't forgotten the actual purpose of this seemingly self-serving rant). But then the unmistakable scent of a skunk wafted through my bedroom window.

Strong to the point of tear-inducing, and positively immune to any creative combination of candles, air freshener or oscillating fan, this musky nasal intrusion caused me to literally bolt upright in bed, with the unfortunate but undeniable knowledge that I wouldn't be slipping back to sleep anytime soon.

What better use of zzzz-free time than to soak up the unusual yet comforting, soothing yet invigorating stylings of the delectably named Noush Skaugen (is it just me or does this moniker ignite the salivary glands the way only a sampling tray of Swiss chocolates with a chaser of robust, toe-curling Icelandic ale could?). There's an intriguing blend here of a Petula Clark accent�if she'd been raised on Coronation Street-- Duffy, and Chrissie Hynde all squeezed through a colander, producing crisp, seed-free, musical texture that's sure to leave a good taste in your mouth.

Every cut, every listen to every cut, reveals a new and heartier nuance, a vulnerability that effortlessly tugs at you and refuses to let go. Case in point: cut no. 10, "One Last Time", which offers a haunting melody line that's the perfect backdrop to Skaugen's flawless vocals from soaring soulfulness to searing grittiness.

You know how, if you've listened to enough music, you begin to re-juggle various elements of the song---melody, arrangements, vocals, even lyrics---in a solo game of "If I were producing this, I'd do (fill in blank) this way."?

Well, not once throughout this entire captivating CD did my delusion-fueled mind go to THAT place. There simply was no opportunity, no reason to second guess any element of these songs.

Even the French language cut, "Je Dormais Encore (I Was Sleeping Still)" (no kidding!), a traditional green light for me to pick apart vocabulary, grammar and/or pronunciation, left me flummoxed. Translation: there's nothing (for me at least) to pick on here. On the contrary, this cut especially had me sit up (in bed, no less) and take notice. Reminiscent of Quebec's Nannette Workman, minus the Dumaurier/Camel's Unfiltered rasp, but with the passion from whence the term "feminine wiles" was conceived, this cut transcends language and culture. Noush est simplement exceptionnelle!

And to think we almost lost this Tracy Chapman-inspired singer-songwriter, and amply-able guitarist to a career in law. Now THAT would have been criminal.

And to all the Tinseltown producers who'll inevitably---unless jaw-dropping beauty has slipped out of fashion--- soon be stepping over one another to get this British babe on screen, "Hands-off!"----unless her musical talents get equal time in the spotlight.

Sleep-depriving skunk or not, there's no way the entertainment industry---or the more discriminating music lover--- can snooze through a boisterous wake- up call from an artist of this clear and convincing caliber.