By now, its well documented that pianist/singer/songwriter Vienna Teng landed on Letterman and NPR just a few months after quitting her software engineer job. Since then, Teng has made good on the fairy-tale start to her career by building up a rabid following that has, of course, grown at a steady rate that hasnt thrust her headlong into fame. Teng openly draws from the confessional, introspective style of Sarah MacLaughlin and Tori Amos, but also favors the outright-pop songwriting of, say, Billy Joel. She also prefers to apply her classical training to the music discreetly, so that the casual listener can focus on the hooks, while more focused listeners can glean its sophistication over time. On her fourth album, the just-released Inland Territory, Teng and bandmate/co-producer Alex Wong veer away from the jazz production style of previous album Dreaming Through The Noise for a more abstract, experimental pop sound. Naturally, Inland sees Teng gazing inward as usual, but also asking unsettling -- and rather compelling -- questions about the world around us.