Modern Studies may sound like an extracurricular university project looking at aspects of contemporary society but the songs the group perform are firmly rooted in British folk traditions.
Given that 'Folk' is such a loaded term, the genre label of choice is 'landscape pop', identifying the drone-orientated ambient quality of the tunes where the emphasis is more upon textures and detached, abstract imagery than narratives.
It is the work of a Glasgow via Yorkshire quartet comprising Emily Scott, Pete Harvey, Joe Smillie and Rob St. John.
You might imagine that the album title refers to the gentle and calming swell of ocean waves particularly since Scott's songs are said to be "drawn from the salt and spray of the sea".
However, it is actually named after an organ stop of an antique Belfast-born Victorian pedal harmonium that is described on the band's website as "imposing and statuesque, ornately carved with wax dripping candle holders and elaborate levers".
Being old and worn out, this organ is by no means easy to play but can be heard wheezing away on a couple of tracks, notably on the opening tune: Supercool.
More conventional, and primarily analogue, sounds derive from synths, cello, piano, double bass, drums, guitars, tape loops and...erm.. wine glasses.
Recorded at Pete Harvey's rural Perthshire studio at Pumkinfield, there's a pleasantly dreamy, even sleepy, aspect to the twelve songs, all but two of which were written by Scott.
The feeling is often as fragile and delicate as the highly personal songs of Vashti Bunyan. Listen to Father Is A Craftsman (see video) to hear a good example of these qualities.
The one non-original is a slow, sombre reading of Bold Fisherman, a traditional song about a wealthy Lord in disguise who is intent on marrying a pretty young maid with a "lily-white hand". This is best known in the version by Shirley Collins and, indeed, is earmarked for inclusion in a 'Shirley Inspired' tribute LP.
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Fine though this track is, it feels ever so slightly out of place in the context of this album since it is longer and centres on the story more than the atmosphere. It is also the only song to feature Rob St John on lead vocals.
St. John, a Lancastrian by birth and thus the only non-Scot in the band, also wrote one of the other tunes, The Sea Horizon, an instrumental, and can be heard on backing vocals giving a nice baritone contrast to the pure-voiced Scott.
His contribution emphasizes that Modern Studies is a democratic venture rather than merely a realization of Emily Scott's solo vision.
On standout tracks like Bottle Green,Dive Bombing or Ten White Horses, the strength and beauty comes from the harmonies and subtly sophisticated arrangements.
The four contribute equally to this graceful, melodious album which seems all the more precious as it could well be a one off.
Modern Studies' website
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