Nonplussed by the constant bit crush bombast of nu-rave, disco types, or tired of weary singer-songwriters clogging up the airwaves?

If so, then look no further than The Cave Singers.

In fact, have a listen anyway, as their debut album, Invitation Songs, is an album that should have the music industry abuzz with links to artists like Kings of Leon and Cold War Kids, with their rustic, spacious and timeless collections.

It’s a distinct fork in the road from the art-punk output of Pretty Girls Make Graves’ former bassist Derek Fudesco, who formed the band alongside Pete Quirk (of Hint Hint) and Marty Lund (of Cobra High) after the Seattle group disbanded in 2007.

Similarities are there as Fudesco remains on Matador records where PGMG resided, whilst other offshoot Jaguar Love also call it home. Musically, it’s a marked difference in all quarters, with melodica and harmonica stepping into the breach.

Lyrically, the main elements seem to be made up around rootsy Americana, from the prairies in the early 1900s through to 1950’s diners, with drinking and simpler times also setting the tone alongside romance – whether loved or lost. Mid-placed track Royal Lawns shows this all too easily.

Religion creeps in too; with opener Seeds of Night’s biggest highlights being the chorus, featuring “Thinking of heaven/Oh maybe next time/Next life down the road” that stands out as a live favourite. Elephant Sounds stands out too, with its loud/quiet mix on chorus and verse showing it up as a notable delight.

Musically, its incredibly mature and fascinating, with guitars and drum taking it in turns to lead tunes, with neither becoming inpatient and wrestling the limelight in the mass swathes of silence that make up the album. Helen and Dancing On Our Graves rely on the hypnotic guitar picking and intricate finger work, whilst Cold Eye that follows is slower and shuffles along with the snails-pace drumbeat.

The final clutch of songs see the inclusion of additional instrumentation after the cameo of trumpets in Seeds Of Night, with the harmonica bringing the folk feeling back into the fore on Oh Christine and Bricks of Our Home, with the results being musically upbeat in the former.

The biggest victory comes in the guide of the melodica, which after much derision coming its way thanks to Hard Fi, reclaims some musical respect with its inclusion on closer Called. Using vocal harmonies to its full potential, it brings the curtain down on an album that is bold, but creates a bewitching spell that sees it navigate your subconscious for lengthy swathes of time.

One can only begin to wonder how great this will sound come summer.