A quirky and eccentric voice instantly rises out of the swirl of delicate finger-picked acoustic guitar and wafting organ and instantly one is placed within the hypnotic surrounds of ethereal folk music.

Think Nick Drake, Tiny Ruins, Vashti Bunyan and even a pastoral Portishead at times. Pratt’s light psychedelia has a sometimes lo-fi yet consistently immersive quality as she sings songs of searching and what feels like a cautious transition from a past relationship. Penultimate track, ‘Back, Baby’, with its sweetly melancholic, catchy chorus is the highpoint of an understated, very good album.

Chris Familton

this review was first published in The Music