The most impressive part of Imogen Heap’s musical track record is her ability to make so much out of so little.

That is not a backhanded compliment but quite the opposite. In fact, she is an exceptionally talented singer and to her credit, she has never overdone the programmed music that supports her. The simple beats she crafts have let her voice shine rather than mask any shortcomings as so many artists do.

After a nearly four-year drought between releases, Heap has finally released her latest album, “Ellipse,” a 13-track album with tunes that range from moody and somber to dance-party inspiring.

Opener “First Train Home” shows Heap hasn’t lost her touch for crafting infectious songs. Her vocals are silky smooth, and she hits her high notes without any waver as the understated but up-tempo beat plugs along.

“Wait It Out” is the first glance at Heap’s more emotional side, and with lyrics like “pain, on pain, on play repeating,” the song is moodier than a freshly dumped 14-year-old’s poetry. Luckily, the lyrics could be about anything and still would be overshadowed by Heap’s pipes as she goes from a whisper to falsetto, and back down again seamlessly, in a truly brilliant display of range.

“Little Bird” is an interesting track. A beat is hardly utilized until the very end of the song, and Heap’s vocal performance is stunning. It is the benchmark of “Ellipse” and one of the finer tracks of her career.

“Swoon” kick starts the album once again with a made-for-radio chorus that could easily be a first single for the album.

Songs like “Tidal” and “Between Sheets” are the sort of high-quality songs expected of Heap but are not necessarily anything out of the ordinary. “2-1” is a tense song that has a “gloom and doom” beat. After an intro composed of Heap’s voice alone, the beat kicks in with a heavy sound and gives an eerie feel to the entire song, especially as Heap sings, “I’m dying to know what’s in your head.”

“Bad Body Double” is the best ’80s song not actually made in the ’80s and “Aha!” is an extremely high-pitched clunker of a song. Heap starts off soft, in a normal range, but once the chorus kicks in, she hits dog-whistle high frequencies, earning the song distinction of the only bad track on the album.

The Latin-inspired “Canvas” gets the album back on the right track with its peppy guitars that introduce the song before they give way to a solemn-sounding piano. “Half Life” rounds out the album on a lullaby, with Heap sweetly singing “You know you’ll never be lonely, you know you’ll always be loved.” The pillow-soft beat, propped up by a brief bit of horns, and one of Heap’s best vocal performances on the album make this tune about unrequited love as perfect of a conclusion as one could have hoped for.

While four years is an extremely long wait for new music, all is forgiven as “Ellipse” contains some of Imogen Heap’s best work to date.

The songs are all integral pieces of a puzzle that when put together form an inspired piece of art. Heap sticks to her tried and true method of putting second-to-none vocals over a simple beat, and though there aren’t any songs that will surprise listeners, “Ellipse” is still a treat.

Reach the reporter at jdfourni@asu.edu.