Folk is back it seems, in rather a big way. This recent resurgence of Folk into the mainstream was fairly sudden, with the likes of Noah and the Whale at the forefront last summer. This baton being taken up this year by the phenomenon of Mumford and Sons - those four, farming-gentlemen-looking, weirdo’s with the platinum selling album and major bookings at just about every major festival this year. Good time to be a folk artist perhaps?

And as it transpires, here comes another. Gary Stewart’s debut album will be released come September 13th and once again it seems the folk scene has uncovered another gem. However this isn’t just a 'let’s hang onto Mr Mumford’s coat tails’ record, this isn’t one that will have every festival-going scenester dancing in their Wellington boots and huge sunglasses because they heard a song that they quite liked on T4. This is a much more measured approach, more for appreciators of classic folk than for the prostitutes of the folk new wave. This is not to say, however that it’s appeal is so restrictive and niche that only people with huge collections of Leonard Cohen and Joni Mitchell records will be able to enjoy it. This is still a collection of pop-songs, and a damn fine one at that.

The album kicks off with the truly wonderful ‘Travelling Song’, a song full of acoustic guitars, modest strings and Celtic influence, which really indicates what this album is about and paves the way perfectly for what is to come. ‘Jekyll & Hyde’ and ‘Take me down’ retain the pop sensibilities of the first track until ‘Behind The Door’ slows things right down. Minimal instrumentation and a wonderful, Nico-esque, female vocal adorn this track, again, keeping the Celtic vibes intact. This story continues.

I could go on listing the gems to be found on this record but that would only equate to a track listing and would rather ruin the fun of listening to it for yourself. Regardless of whether you’re into the genre or not this is a guaranteed worthwhile listen. Every track is imbued with the same warm, inviting vibes but each still manages to stand out from one another. For me this record was a welcome change from my usual routine of late, consisting of large doses of The Cure, Siouxsie & The Banshees, She Wants Revenge, The Smiths and Sleigh Bells, stuff that, amazing as it may be, does tend to get the best of you at points. Upon hearing ‘Boy Cries Wolf’ it was as though all my made-up troubles, brought on by the aforementioned list of Goths, just fell away. This record is a fresh take on classic folk, a fine example of musicianship and a collection of great pop songs but if nothing else, it just makes you happy.

Lee Morris