Costello revamps his sound once more. Last year’s North was a somber and somewhat sleepy affair despite working with The Mingus Big Band. The Delivery Man ups the ante by returning to a more rollicking wild sound to which Elvis fans are accustomed. He splatters words out like a disagreeable exhaust pipe on "Button My Lip" and charges brilliantly through other rockers like "Monkey to Man" and "Bedlam."

The real gems here tend to be the ballads though. With the vocal assistance of Emmylou Harris on "Heart Shaped Bruise" and "The Scarlet Tide" the songs shine. Indeed, The Delivery Man is comprised of a more country and classic rock n’ roll vibe than the intelligent pop that Costello has administered throughout most of his career. With stalwarts like Harris and Lucinda Williams (who also makes an appearance on "There’s a Story in Your Voice"), the record becomes a more well-rounded listen and all the more enjoyable. Above all, it proves that Costello can delve into other styles while still applying his colorful imagination and the sense of lyrical adventure that make his recordings shimmer despite the genre to which he is paying homage.

Artist: Bjork
Album: Medulla

Medulla is Bjork’s seventh solo record since 1993 and is by far her most challenging to date. The album is primarily a cappella aside from a few touches of keyboard and handy programming. Most people find Bjork either completely obnoxious or brilliant. Medulla may divide the latter, for at first listen, the record sounds cacophanous and somewhat difficult to decipher. One could say this is the closest she has gotten to sounding like a Samuel Beckett play (if the playwright had made records for mass consumption). That notion in itself and the music within Medulla may thwart fans away. Likewise, it may draw in curious listeners enticed by this daring venture. Basically, who in popular culture today would have the gusto or lunacy to make an all vocal album?

As always, the lyricism remains wonderfully abstract and chock full of poetic subtleties. With Medulla, Bjork’s words are more akin to Kate Bush than ever, yet are still inimitably her own. The voices of the Icelandic and London Choirs swell around her voice, pushing it upward with an eerie and mystical support. Tracks like, "Pleasure is All Mine" and "Desired Constellation" are two examples of the scintillating chemistry that occurs between the artist and the choir. The more peculiar tracks where the computer programming plays a more conspicuous role ("Where is the Line" and "Triumph of a Heart"), human beatbox stylist, Rahzel fills in with an astonishing force. Other vocalists add valuable contributions that color this record immensely. "Where is the Line" proves to be such a beautiful racket; a zoo of human noises distorted and tweaked by computers.

One of Medulla’s most emotionally striking pieces in my opinion is "Ancestors"—a wordless improvisation with an little-known vocalist by the name of Tagaq. Bjork’s high cries, wails and moans are underscored by Tagaq’s often fast past guttural low canine like vocal ejaculations. All is performed on top of icy yet strong, slowly played piano block chords which seem to cut through the music in a haunting manner. This would seem alien to most ears, yet in those cries and moans there is inexplicably something soulful which emerges. Like Beckett, "Ancestors" appears to be nonsense or a mockery of itself. However, below that surface lies a hidden message or feeling that the artist wishes to convey. Done with such a raw verve, this track and most of Medulla carries these magnitudes of artistry.

Medulla makes for an interesting listen and hopefully will open ears up to sounds they never deemed necessary or valuable for a major label release. This record also suits the autumnal season. It can be both stark and colorful, warm and chilling, saturated and simple. I imagine this music best fitting that last moment of a fall day where the final gleam of orange light sinks low through the bare and statuesque trees, heralding on the sensuous, black night.