If this is Nili Hadida's moment, then it’s about time. Originally hailing from Tel Aviv, Hadida found success in France as half of folk duo Lilly Wood and the Prick, releasing three albums across a decade.

While the pair found serious success across Europe via a remix to an older song in 2014, true recognition has somewhat eluded them, particularly in the States. With the project lying somewhat dormant since 2015’s Shadows, Hadida is stepping out on her own in hopes of rectifying that.

She’s brought along quite the backers, with the duo of Christian Rich and Jimmy Douglass handling producing and mixing, respectively. With credits including Björk, Kanye West, N.E.R.D, and Justin Timberlake between them, needless to say, Hadida’s self-titled debut sounds great, practically gliding from speakers to ear canals.

What’s surprising is all the personalities at play here managing to remain so restrained. Hadida herself clearly isn’t overly interested in going for easy (or “big”) pop moments, instead gravitating for low-key grooves and introspective reflection.

Unlike her chosen soundsmiths’ grander collaborators, this isn’t music meant for belting out alone in your room or sloppy parties, more suited to a pleasantly lonely chill shesh, unassuming, somewhat minimalist in its fleeting presentation.

‘401’, however, still manages to be somewhat of an anthem, Hadida strongly observing, “Every second in this space is spent with you.” By and large, though, the songs found here aren’t demanding, floating in and out of view. She can make a seemingly simple line, such as the barb of, "She smiles when she lies, and she lies all the time," on 'This Way' slice with harsh force.

‘Frank’, a tribute to Frank Ocean’s ‘Pink Matter’, is sure to please fans of both artists. It’s hardly a leap, with Hadida’s interests seeming to primarily lie in softening soul into a caressing pop mixture of her own. A stand out moment comes as she delves back into the folkier elements of her past, with the stark simplicity of ‘You Got Me’ speaking volumes.

Nili Hadida may not attract legions of pop fans, but then, it hardly feels designed to. Hadida is clearly enjoying stretching out on her own at long last, and the album plays a bit like her testing her sea legs on a maiden voyage, finding her footing, and her independent voice, as she goes. It faces stiff competition in a tough, crowded field, but as an opening salvo, it more than signals good things to come from a positive, self-assured voice.