I’m not going to talk about Philip Selway in relation to Radiohead. As an artist in his own right, it seems fair: it must be so annoying, as a musician in one of the biggest bands of all time, to be continually drawn back to their music, and particularly when your own doesn’t sound very much like your band at all.

Instead I’d draw a comparison with another solo artist from a pretty big band. The opening track here, ‘What Goes Around’, shares melodic and lyrical similarities with George Harrison’s ‘Isn’t it a Pity’; both songs have a cyclical kind of recurring chord scheme, and a similar karmic tone. Though the overall effect is very different – the slow splurge of ‘Isn’t it a Pity’ isn’t directly responsible for the bouncing electronic hi-hat on ‘What Goes Around’, for example – there are, beyond the superficial musical differences of tracks released in 1970 and 2011 respectively, some close ties, it feels, with these two songs.

Selway loses the karmic tone for the EP’s remaining three tracks, but the sense of cycles remains: often these tracks go round and round (just like the line “I’ve been going round in circles”, the first on the EP) while adding layer after layer of sound. From the whooshing glitch effects and lullaby backing vocals on ‘Running Blind’ to the mini-epic thumping of drums that characterises the second half of ‘Every Spit and Cough’, the Running Blind EP is a work of crescendos.

It works. Those opening three tracks, in the simplest manner, satisfy: every song stands alone, and completes itself. In other words, this is not a collection of songs that’ll disturb or unnerve: its four very well constructed songs, beautifully and a little nervously sung, in the pop/indie mode, with a little electronica thrown in.

The fourth and final track of Running Blind, ‘All in All’, is a little different. It foregrounds the use of acoustic guitar on the EP – all three tracks centre on an acoustic guitar and Selway’s quiet, restrained vocal – and accomplishes a little less. A perfectly good track in itself, it seems to function like an afterword, downsizing what’s gone before it by stripping itself of adornments.

That sort of thing works incredibly well on longer works, but on a four track EP it kills the mood a little, and feels a little out of place: it’d almost work better as a standalone track. On the whole though, the Running Blind EP is delightful: a surprisingly strong piece of work.