Nadia Reid: Preservation (Rhythmethod)

Although Elsewhere heard both Nadia Reid's debut EP and first album we didn't write about them because . . .

Got busy, got distracted or whatever, and in part because we were less impressed than others (here and abroad) seemed to be, so by the time we came to grips with them the time for comment had long passed.

The enthusiastic reviews were in, she'd found her audience etc. Nothing for us to say after the event.

Well, the reviews for this one (again here and abroad) are in and they are – quite rightly – even more enthusiastic.

So we are just going to join the critical choir to hail the strength of her songwriting, the canny and spacious production by Ben Edwards in his Lyttelton studio (where magic seems to take place) and how Reid has extended herself musically and emotionally this time out.

While she might still be described as loosely folk (the finger-picking on Hanson St Part 2/A River and Reach My Destination) we would now place her more thoughtfully into the folk-rock category (largely because of the chiming guitars, that aural space which surrounds her) and perhaps even into that more airy territory inhabited by This Mortal Coil's version of Song to the Siren (as on the close-mic production and sonic bed on the title track and I Come Home to You).

But it's those sharp guitars and backing vocals which push this into exciting directions (the dynamically-clever Arrow and The Aim, the aural backdrop of Right On Time which alludes to a folksy New Order before easing itself into impressive jangle folk-rock).

Just 10 finely crafted, beautifully produced, lyrically mature songs about life and love which can be almost heart achingly candid: the album's most emblematic song is perhaps the quietly optimistic Reach My Destination which is also in part that universal story about going home to the small town to find comfort, and written with the poetic quality of Joni Mitchell.

The critical choir on this one is deservedly loud and strong.