When I graduated from college, the joke that was written about me by my staffmates at the Ohio University Post was that “I’ll follow my heart…and the free CD’s.” It’s funny, because it’s true. I definitely followed my heart, and then after landing some writing gigs, I was pleased as punch when the free CD’s started rolling in.

These days, they’re stacked in piles next to my laptop like an unfinished Jenga game.

Yeah, I know: nice problem to have, right? Sure, but still a problem just the same, since I invariably under-deliver to someone in terms of a timely review. This column looks to rectify that. And so, let us begin the first installment of Notes from the Orphanage.

Phil Aiken: It’s Always the Quiet Ones (TGRC)
If Billy Corgan did an album of piano-driven pop, it’d sound like this. Actually, that’s not exactly true; Corgan’s attempt probably wouldn’t be this good. Check out the title track. It has a spooky vibe to it, as in the Classics IV song “Spooky.” He even covers a Pete Shelley song (“What Do I Get?”) and recruits Tanya Donelly to sing backup on a song. Good stuff.

Dan Wallace: Neon and Gold (Torito Bravo)
This Chicago native wisely leads with the album’s best song, the Kinks-style ditty “Fell.” From there things take a much different path, more into Rufus Wainwright territory pre-Want One. He’s clearly picked some good role models in Wainwright, Ray Davies and the Divine Comedy (“The Lizard and the Cat” is soooo Neil Hannon), but he doesn’t quite rise above his influences. Not this time, anyway.

Max Sedgley: From the Roots to the Shoots (Sunday Best)
A little Daft Punk, a little Chic. The album sports block rocking beats by the pound, but the opening track, “Happy,” clearly does not know when it has worn out its welcome. When this disc hits a groove, like they do on “Celebrity,” the disc is quite fun. A little editing, though, would have gone a long way.

Skye: Mind How You Go (Cordless)
You know, I was wondering what Patrick Leonard had been up to. The man who helmed Madonna’s best records from the ‘80s is behind the boards for his London siren. Dido crossed with Morcheeba is how I’d pitch this if I were in Hollywood. It also brings to mind Tasmin Archer, who had one fabulous hit in 1993 with a song called “Sleeping Satellite.” Man, that was a great song.

Here’s that lost song, for anyone who doesn’t remember it. Think Seal, as a girl.

I Love You but I’ve Chosen Darkness: Fear Is on Our Side (Secretly Canadian)
Best band name since Eagles of Death Metal, and Ministry’s Paul Barker is behind the boards. But this is no thrash-fest. Hypnotic grooves circa late-period Talk Talk, and darkly danceable rock like the Sisters of Mercy or maybe New Order. If I gave this record more time, they might become my new favorite band.

Golem: Fresh off Boat (JDub)
Jewish gypsy punks. There, I said it.

Bedtime Beats: The Secret to Sleep (Rhino)
How about this for a challenging assignment: when do you listen to a disc like Bedtime Beats, something that’s specifically designed to knock you out? As you’re going to bed? Then you won’t hear the whole thing. While you’re working? Then you’ll fall asleep at your desk. I’m definitely not listening to this in the car; the disc even has a warning instructing me not to. So I put this off for weeks, but here goes nothing…zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz….

Wow. This thing really works. Get this for the insomniac in your life, stat.