or an album that followed its creator out of an ugly bout of drink and experimental drugs, Rufus Wainwright's Want One is oddly playful in spirit and lacking in the heaviness one might normally associate with records born out of depression.

In keeping with his stage persona as pop's lovingly flamboyant homosexual, Wainwright creates an album that is teeming with drama ? though, not somber, down-in-the-depths sort of drama, but drama of the fantasy sort. A dead giveaway is the cover art of the album, which features a pale, dazed and disheveled Wainwright clad in knight's armor, gripping the blade of an unsheathed sword. Hard to know how serious to take this guy. He seems to invent this make-believe world in which he clearly plays the starring role. Belting out songs about vanity fairgrounds, rebel angels and cell phones on vibrate, Wainwright isn't entirely convincing about his recent period of angst and turmoil. It's like you almost get the feeling he is lost, and loving it.

Musically, however, the album is quintessentially ?Rufus.' Wainwright preserves his throne as pop's master of extravagance, sparing none of the 14 tracks from layers and layers of instrumentation and vocal harmonies. The fabric of the album is, as usual, the strength of Wainwright's voice, into which he weaves a magnificent production of horns, scintillating orchestral arrangements, banjos, and accordion, among other instruments. A loyal choir of voices follows his throughout the record, comprising the trademark Rufus entourage of sister Martha and guitarist Teddy Thompson.

Want One is clearly crafted with precise execution, from Rufus' very first note down to the very last handclap. The crescendos within the tracks are so massive I had to readjust the volume on the CD player several times when the songs would peak. While his voice alone could easily carry any tune on the album (as he has demonstrated with his live acoustic versions of Poses' ?One Man Guy?), Wainwright opts for the pomp and circumstance that only he can get away with. His vision is a single one unequaled by any in music.

At the same time, I would argue Want One doesn't quite measure up to its acclaimed predecessor, Poses , which offered more authentic and unique soul that drew me to the artist in the first place. The new album does not evoke the same sort of titillating dark pop and oddities that marks several tracks on Poses . One hugely redeeming factor of Want One, however, is ?Natasha,? the album's brilliant gem of a heartbreak ballad -- essentially what ? Tower of Learning ? was in Poses .

For that track alone, Want One is a record worth looking into, for those who have a soft spot for the lights, camera, action! Wainwright promises the follow-up Want Two will offer, in the artist's own words, ? more daunting tracks, the operatic, weird stuff, some heavy numbers that relate to my classical sensibilities.? Seems that would require nothing short of a magic trick . Stay tuned.