Basia Bulat giggles incessantly when she's asked about herself. Not the kind of nervous rumble that starts in the stomach's pit and seeps out without control, but the kind of light-hearted laughter that charms through casual discourse and self-reflection. She finds it all gratifying - the forthcoming album, the press tour and the Brooklyn hotel room where she sits to discuss what she's made. It's only right. If anyone should be happy with herself, it's Basia.

It wasn't too long ago that she was driving 600 miles from her home in Montreal to La La Land studio in Louisville, Kentucky to record her fourth album, with a break-up record on her mind and pop sentiments on her lips. Teaming up with friend and My Morning Jacket member Jim James, the two constructed ten moving and redemptive songs that make up Good Advice, the forthcoming follow-up to Basia's critically acclaimed Juno and Polaris Music Prize-nominated 2013 release Tall Tall Shadow. But not only does the album mark a return for the Canadian folk singer, who has attached herself to more opulent arrangements this time around, but Good Advice is a sonic release that turned heartbreak into laughter.

What's the best advice you've ever received?

Really, it's to listen. Nobody else can really tell you. I think that's what I realized over the years. We are in such a culture of advice right now. I love advice columns. We're in a culture of everyone kind of seeking out an opinion, but there's really not a lot of listening. The record kind of asks so many questions and then the title-song says, I'm not really asking for it, because I've got to listen to myself. So that's really where it comes from. At the end of the day, the only person that's going to know what's best for you is you.

You recorded the album alongside Jim James of My Morning Jacket after you toured with him. How and why was it decided that he would be the one to help you on your 2013 follow-up?

I'm a huge fan of his music and his work. He's also really a lot of fun to work with. It was actually a really natural thing. We met a couple of times over the years and became buds and then I asked him if he would be interested in working on a record and then I sent him a couple of songs and he said, "when can you come down to record?" So it all happened really quickly. I drove to Kentucky and got out of my car and walked into the studio and we started tracking almost immediately. The first song we tracked was 'Time' and it was really fun to do. It was like, once I started that song, okay, this is who I want to make my album with.

In a Facebook post, you referred to the album as "fireworks, heartbreak and a disco-ball." And I know that the songs started as slow acoustic demos so what was your personal process of allowing yourself to open up emotionally and attaching that to the more opulent sonic arrangements they turned into?

I realized that, in order to really believe myself when I'm singing, the songs needed to reflect the full spectrum of what I was going through and not just whatever fears or sadness I had, but also that this is coming from a place of love, also. It really was a way that felt the most true. It felt like I would believe the songs the most. The brighter the songs became, the more I was able to go to darker places when I was singing.

You can hear that, except for the title-track, which seems to make you sit in your pain. It matches what you're singing about, sonically. Why was that chosen as the title-track?

I think being able to confront and listen to yourself, sometimes isn't the most fun. I think that song is a channel for me to let myself be free, but that doesn't necessarily mean that that's where the disco-ball is.

The album was created over the course of three visits to Kentucky. How was that final drive home different for you as opposed to the drive there? How did you leave a different artist?

I think every time you meet a new person or work on something new, you're changing right there in the moment. It definitely changed me for sure - the people I was with, the friends I made and just the motivation to keep doing more and keep making whatever I want to make. And knowing that and really feeling it, like, I can really make anything I want and that's where my freedom is, is really beautiful.

The new album is described as being 10 songs about "desire and redemption." What do you desire at the moment?

What I'm trying to do is do work that feels exciting to me and feels challenging to me but not particularly being attached to any particular outcome that comes from it. That's kind of always what I've been doing. I made my first record never thinking that it was going to come out on a label or that years later, I would be able to be in a hotel room in New York talking to you. I never knew that was what was going to happen in my life. I really just enjoy making stuff that feels like a challenge. And then seeing what happens with it.

And that sounds like the redemption the album was described as.

I feel lucky. In a way, it's a real privilege to be able to do that. So just recognizing that and being excited about that, it's good, because you never know what's going to happen. Just being excited that that's what I get to do right now. If you spend your time thinking about other things, you're not really enjoying what you have right now.

Prior to this album, what are some of your favourite break-up records?

There's classic ones like Blood On The Tracks or songs like Lauryn Hill's 'Ex-Factor,' which is one of my favourite songs. But there's also records that maybe have nothing to do with anything specifically or specifically reference anything like that, but I feel like that's what it is. Different people use different type of music to get through their changes. When I was in high school or just finishing high school and I went through a break-up, I listened to Blonde Redhead's Misery Is A Butterfly a lot but that's not a break up record, it's just a record that I listened to a lot that was about another kind of recognition and coming to terms with certain kinds of changes and pain and fear. But also, it's a beautiful record. At the same time, I'll listen to The Beatles. They don't really make break-up records but I'll listen if I want to be cheered up. Or The Kinks. They're one of my favourite bands or all time. I love listening to them any time all the time.

Sometimes where the music can take you is even more powerful than what its themes are.

Yeah. And the funny part is, so much of it isn't me. I don't know if this record is specifically a break-up record. It's kind of more about coming to terms with change. Or, that's what it ended up being. When I ended up looking back through the lyrics, I realized that it wasn't just about one thing that I was going through, it was a lot of questions. It was about so many questions. It was really what I was reading into it. But it's funny how some people read into it and others read something else into it. It's been really cool to see that it isn't just about one thing.

Good Advice is set for release on Feb 12 via the Montreal based Secret City Records.