Ever thought about using paprika, a spice from central Mexico that spread to Europe during the 1500s, to describe someone who is the center of attention in a pop song? If not, then check out the opening track to Japanese Breakfast’s newest album, Jubilee. In this song, the South Korean American singer asks, “How does it feel to be at the center of magic?/ To linger in tongues.” At first, it seems like an extremely random analogy, but in context, it somehow makes both logical and poetic sense.

That’s the same offbeat style spread throughout singer, songwriter and multi-instrumentalist Michelle Zauner’s newest studio album. In addition to music, she recently published an autobiography, “Crying in H Mart.” It details her identity as well as the loss of her mother to cancer. That project reached No. 2 on the NYT’s non-fiction bestsellers list.

Jubilee comes almost four years after Soft Sounds from Another Planet and furthers the multifaceted artist’s quirky image. It’s like a combination of Florence Welch’s aesthetic and Zooey Deschanel’s relaxing vocals with She & Him. Its bedroom pop with odd song titles, such as “Posing in Bondage” and “Posing for Cars,” paired with unique visuals. From start to finish, words that would be used to describe the project could include “yellow,” “pitchy” or “off-beat.”

Jubilee is unique and worth indulging in, particularly during the highest points like on “Slide Tackle.” The poppy, upbeat track kicks in immediately with lyrics speaking about anxiety and lacking confidence in the longevity of relationships. “We’ve always had a good time, so what else is left, babe?” she asks. There’s a modern, progressive feel to the style of the music. It’s both one of a kind and diverse; a sound that, intentionally or not, deconstructs standards of powerful vocals and espousing devout femininity.

The accompanying videos are just as eccentric and socially aware. “Savage Good Boy” features bug-eyed perspectives of the singer, dressed in lavish gowns and jewels, only to be dripping in blood moments later. On the song about sugar daddies that are both problematic yet somehow still venerated, she goes as far to assume “as the last ones standing, we’ll be tasked to repopulate.” Only in the video, she decides to change the script, killing the wealthy man with a bite to the neck, all the while keeping her diamonds on full display.

On “Posing in Bondage” she begs for attention. The chorus is slow, a waning beat accompanying the sparse and repeating lyrics of desiring closeness, proximity, even bondage. Though seemingly intimate, the lyrics speak to bigger ideas of underserved populations and inequality. “When the world divides into two people/ Those who have felt pain and those who have yet to,” she sings, highlighting an increasingly evident divide between the haves and have-nots and the eventual tipping point to which this inevitably leads.

On “In Hell” she opens with the jarring lines, “With my luck, you’ll be dead in a year/ I’ve come to expect it/ There’s nothing left to fear/ At least there’s that.” She compares looking for love to hell, then lets a strong keyboard hook take the reins, both lightening up the sad lyrics and creating a groovy bit of instrumental work.

Japanese Breakfast concludes Jubilee with “Posing for Cars,” a six-and-a-half-minute endeavor where she talks of being a lonely woman left outside on display by her lover. The light guitar strumming switches a few minutes in, building into a much fuller sound that finishes the album with an instrumental high. It may take a few listens to grasp the unique style of Jubilee and the creative grind Japanese Breakfast is on, but once you’re interested, you’ll see exactly why she keeps finding success.

Follow Domenic Strazzabosco at Twitter.com/domenicstrazz and Instagram.com/domenicstrazz.