Having started out as high school friends in a bayside suburb of Melbourne, Australia, the Lucksmiths trio were officially set on foot in 1993 and made short work of winning the hearts and livers of student share-houses the city over. Sixteen years and countless albums, world tours and one extra member later, the band called it a day. By this time, their reputation as one of the most influential indiepop acts of the past decade was assured.

After a notable two-year absence from the new-release racks, The Lucksmiths return with a mighty "don't argue" in the shape of 'Spring a Leak', their exhaustive new collection of lost treasures. No mere greatest hits collection, 'Spring a Leak' compiles over a decade's worth of great recordings that have never made it onto a Lucksmiths full-length: b-sides, alternative versions (from 7" singles and demos), songs recorded especially for compilations, live, radio and TV sessions, cover versions, remixes, and various previously unreleased ephemera.

To call David Axelrod an auteur is putting it mildly. Although finally revered the world over by hip-hoppers and lovers of his 60s and 70s cinematic instrumentals (and an excellent eponymous solo offering on the Mo’ Wax label from 2001), Axelrod’s earliest recordings from 1967-70 have remained shrouded in mystery.

The music of Souvenance, by turns graceful, hypnotic, and taut and starkly dramatic, was recorded in 2014 – six years after oud-master Anouar Brahem’s last ECM album, “The Astounding Eyes of Rita”. “It took a long time to write this music,” he acknowledges, noting that his emotional world had been usurped by the unfolding story of political upheaval sweeping first through Tunisia then through the neighbouring countries. Extraordinary waves of change, accompanied by great hopes and fears. “I don’t claim a direct link between my compositions and the events taking place in Tunisia,” says Anouar, “but I have been profoundly influenced by them.” New directions for the music find Francois Couturier returning to the Brahem group, frequently supported by subtle string orchestration.

Conte de L'incroyable Amour is Tunisian composer and oud virtuoso Anouar Brahem's follow-up to his excellent ECM debut, Barzakh. Like its predecessor, this release contains original material that mixes Arabic music and jazz improvisation and features a stellar band comprised of some of Turkey's finest musicians (this time out Brahem is joined by clarinetist Barbaros Erkose, nay (reed flute) player Kudsi Ergune, and the percussionist from Barzakh, Lassad Hosni). In contrast to Barzakh's livelier mood, though, the sound here is more meditative and even stark at times, especially on solo flights by both Brahem ("Iram Retrouvee") and Erkose ("Etincelles") and by way of Erguner's ethereal improvisations ("Diversion"). The pace picks up on the sympathetically played and joyous ensemble piece "Conte de L'incroyable Amour" and on the impassioned Brahem and Erkose duet, "Nayzak.".

Over the years, trying to determine what is true "prog rock" and what is not has become an increasingly tricky proposition. In the early '70s, it was easy – any band that performed "suites" that extended across entire album sides and dressed in capes and/or cloaks was a dead giveaway. However, when the early '80s rolled around, most former prog rockers trimmed out the fat from their compositions (and exchanged their medieval wear and kimonos for what looked like sports coats). Ever since, there have been bands that have aligned themselves to either of the aforementioned prog rock approaches. But along came Porcupine Tree, who somehow have found a way to incorporate both into their 2009 effort, The Incident…

Deep thought, care and love pervade this newest contribution to Arrau's Schumann cycle, just as they did all the others. The discovery for me was the Blumenstück, which if played at all (it isn't often) so easily emerges like some pretty but pale little drawing-room aquarelle. But not from Arrau. Characteristically, he reads between the lines of every bar, and discovers as much to express as in any of Schumann's wholly introspective pieces. I was amazed at the variety of mood he extracts from the work's not greatly varied figuration throughout the sequence of brief, closely related sections.

The untitled ECM double-album debut of young Norwegian saxophonist, composer and improviser Mette Henriette Martedatter Rølvåg is an arrestingly original musical statement. ‘Jazz’ players and ‘classical’ players are drawn together in her ensembles, but the music shapes its own world, outside genre definitions. Mette Henriette is interlacing form and freedom in fresh ways here, as her intense and focused tenor saxophone sound moves inside compositions of sometimes disarming fragility. In this music, vulnerability can be as potent a force as full-tilt blowing, but there is a place for both. The recording’s expressive and emotional range is wide. Disc one here features trio music with Mette Henriette, pianist Johan Lindvall and cellist Katrine Schiøtt. Disc two has Mette’s “sinfonietta” with thirteen players.