Being loosely familiar with 'GCWCF' (Get Cape. Wear Cape. Fly.) I expect from this work, at least a good standard of production. Finally, this is a review where I can focus on, shock and horror, of all things... the music?

Initial thoughts, right of the lazy bat, this is mell-ow. Duckworth's voice is somewhere between Matthew Murphy (The Wombats) on sleeping pills and every other vaguely alternative indie band, with a dash, a very little one, of an Oasis drawl. This is fairly idyllic; the slow voice married to repetitive, quirky rhythms... strum into strum into song into song.

This is the unfortunate plague of most laid-back records... tracks merge, tracks blend, and this album is a prime case of that. It's charming, it's a little different, and as I expected a cut above the average beginner form, proof of the obvious... aspiring musicians - join a band and play for a LONG time before you even THINK about getting a record together and scrutinised.

Anyways back on the right thought-train... so the background is indistinguishable at times, but it is the background, and Sam has clearly put a lot of focus into the lyrics, you can hear a creative and articulate song-smith in this record, which appeals to me. This is a late-night album, both in its composition and when the greatest enjoyment can be wrung out of it. Actually, that's wrong, no wringing, it's far too delicate for that.

The longer I listen in this context, the more I appreciate this album. It's almost pretty, the very opposite end of the spectrum to my standard scream-chug fare. It's crafted, not powerful, the first few melodies remind me of some Ed Sheeran/Owl City crossbreed, and I suppose that's high praise for this type of music. Be aware though, that the latter half of the album is a bit darker, touches of Radiohead abound, in addition to fragments of other bands that play around the edges of my mind, nothing specific enough to put a name to.

In essence then, this is two very separate souls. The upbeat quirk traded in for dark mood, if the first would let you wander into your dreams, the second is going to give you... an odd trip. 'The Farmer' stands out for me, almost entirely because it makes use of sudden and surprising drum loops, sitting completely out of place, but clearly working...

It's as if I have to eat my words, I can't exactly describe it as powerful, but 'mellow and chilled' was certainly abandoned at this point. However, it was quick to return almost instantly in 'Clementine' along with the earlier major ideas. Pity, it was doing something different. Now I just feel as though I've listened to a selection of songs from different albums. It's all disjointed, and I suppose that's reflected above...

Eurgh, signing out from here, fluctuating likeability levels a bit above 50% I suppose? A little bit of special, but not enough.

www.samduckworth.co.uk