Listening to Ingrid Lukas, I am reminded of many things, both personal and general.

"How Are You" immediately puts me in mind of all that was great about Kate Bush at her best, as though it was one of Kate's single greatest moments taken and developed and extended. It is a marvellous introduction to what is to follow, demonstrating all that is strong, warm and beautiful about this album.

While this is on Nik Bärtsch's Ronin Rhythm Records, it only has a few clues to suggest Nik's involvement, which is a great thing, demonstrating that the oeuvre of Ronin Rhythm Records holds many future moments of greatness, and that Nik is more than happy and capable to allow the music to be itself rather than hammer it into a forced "label sound". It is a testimony to his ability to sit as overseer rather than interfering auteur, as some in this position could easily become.

"Süda teab" is a beautiful piece, where repetition becomes a device of not only meditative origin and destination, but also one of drama and growth. There is nothing static about this music, either musically or lyrically, with linguistic shifts from Estonian to English as well as melodic ones. At time Lukas's singing moves between the sung and the spoken, reminiscent of Joni Mitchell, perhaps, although to English-speaking ears such as mine, I can't help but make a loose association with Bjørk ... Also quite reminiscent of "Teardrop" by Massive Attack without the grandeur, perhaps, but definitely not lacking in substance or emotional impact as a result.

The simplicity of the arrangements is a wonder to behold: the piano chimes, bell-like, reminiscent of the piano compositions of fellow Estonian, Arvo Pärt, while Dominik Burkhalter's percussive drumming shuffles along, creating a sense of definition rather than drive. The vocals of Lukas and Corina Schranz take centre-stage, perfectly complimented by Gregor Frei's clarinet, which almost sounds like a human voice itself. "Valge Ingel" is a supreme example of how variation on a basic motif can create many texture and emotional materials for the listener to absorb and align within the listening consciousness.

Deliberate drama, is not excluded, however: "Rainspell" has a palpable sense of foreboding at its beginning, a growing tension, almost reaching the level of threat. However, when the build reaches its height, the feeling is more one of exuberance, with a distinct capture of the feeling achieved by many European folk songs.

By contrast, "We Need To Repeat" is a relaxed, gentle piece, doing exactly what it says needs to be done. The simplicity builds in soft layering, and manages to avoid the potential irritation such a track could produce (if it were in the hands of a lazier, less intelligent musician, perhaps - pop albums are strewn with the carcasses of such tracks that achieve little more than a kind of inane blandness at best). The sentiment is what is key here: the need to repeat is a spiritual one, not a need to produce album-filler. As such, the piece is a more-than-worthy album title track.

"Like Nowhere Else" takes a more conventional road, fitting into the world of singer-songwriter, perhaps, again reminiscent of Joni Mitchell. The lyrical simplicity is fitting, producing a watercolour-like effect rather than epic canvas. Fans of a songwriter like Unni Wilhelmsen would find themselves very much at home here. The sing-along factor is very much present here, almost approaching anthemic moments.

"Tuulte ja merede laps" is possessed of a kind of energetic understatement, obviously a contradiction in terms when placed in words, but making perfect sense in the language of music. This perhaps, is the single most obvious relative of the music of her label mates, displaying moments not entirely dissimilar to Nik Bärtsch's Zen-funk, yet remaining within a kind of post-folk world. Again, there is an element of anthemic sing-along, yet completely different to that found on "Like Nowhere Else". It is also quite difficult to resist the urge to compare this track with early Tori Amos (before the facial reconstructions and addition of a permanent rock combo led to her falling back on affectation and self-stereotyping as her dominant devices).

"Vanaema" follows, again treading more conventional roads in terms of songwriting, but never becoming obvious. The minimalism here serves as a kind of neural network for the various elements of the group, with Gregor Frei's horn given space to emote beautifully. A little silver chain of surprises.

"Two Souls" has much of what one would associate with the neo-minimalist movement, but Lukas appropriates these ingredients with different intentions. Again, the song is paramount, the arrangement as simple as needed, and no more complex than is appropriate to the poetical words.

"Mehed" jumps out of silence like a drunken sea shanty (to my ears), evoking images of a night of revelry where song would be the primary entertainment rather than televised sports or MTV. Reminiscent to my English-speaking ears of Øyonn Groven Myhren, and somehow suggestive of something ironic, perhaps even a touch bawdy!

"Für Alina" - the famous composition by Arvo Pärt, is the most obviously "experimental" piece, touching on areas of lament, and is highly evocative, right up to its final percussive "ding" on a hand-dampened piano string, and is set apart from other variations and renditions of the piece very clearly, all the time retaining the spirit of the original while clearly being part of Ingrid Lukas's soundworld.

Throughout this surprisingly beautiful album, it is the restraint of the musicians that creates the greatest value. Instead of taking the melodies, harmonies, and counterpoints to maximalist orchestral statements, the quartet instead allow the songs to be in control, with no more added than the song demands. Yet never does the music sound austere or forced into a mindset of neo-minimalism. Instead, the purity and richness of Lukas's compositions streams forth, glistening in the ear with a clarity rarely achieved by those with similar ambition.

If you choose to discover one new artist this year, Ingrid Lukas should be that one.