The youthful London-based Suntrap are becoming an increasingly sought-after band following the success of their first two albums (Long Winter Coat and Red Red Shoes), and Sweet Fast River, their third, builds on that success with a thrilling mix of original compositions and interesting covers (including three traditional songs). There's also been a lineup augmentation since 2002, with violin/viola player Nicola Hillary bringing additional creatively interweaving lines to the existing trio of Sara Byers (accordion, whistles), Paul Hoad (guitars, harmonica) and Mary Wilson (violin). Stylistically, the mix is much as before, with enterprising folkier arrangements rubbing shoulders with appealing country-tinged waltz-time numbers (the title track and Holding On) and tales formed from contemporary preoccupations (romantic and urban angst). But the standard of songwriting from Paul and Sara (they tend to write individually), though not exactly weak on the first Suntrap album, is stronger than ever here, from the tumbling opener Silver (now that one sounds for all the world like a sweet fast river!) to the decidedly poppy His Or Mine (one of Paul's, reminiscent of a more commercial Steve Knightley opus perhaps), Sara's Peacock Skirt, full of striking imagery (and sounding at times like a hybrid of Abbie Lathe and Pooka), and the thoughtful duet Black Crow's Wings. Hallmarks of the Suntrap sound are a musical and highly competent instrumental base (a distinctive blend) enfolding some great vocal harmonies (all four band members sing, and well too, although Sara and Paul inevitably take the lion's share of lead vocals). These harmonies can often be quite unsettling, twisting and turning their lines in unusual directions, as on All Things Are Quite Silent and Peacock Skirt especially. And of course the acappella tracks (sadly only two brief ones this time, one of which is an intriguing cover of Kate Bush's The Man With The Child In His Eyes) admirably showcase those superb voices, sounding not in the slightest bit cruelly exposed in their splendid isolation from the instruments. All in all, Suntrap revel in making full and expert use of the possibilities of range, colour and power that four voices and four instrumentalists can bring, producing a rich sound that never sounds overblown, incorporating an impressive and intelligent use of texture and dynamics. Some subtle electric guitar on River and selective sample bass and drums on A Blacksmith Courted Me are two further examples of Suntrap's ever-creative approach to instrumentation, providing a foil to that now-characteristic dual-violin approach which permeates many of the songs; the fact that the whole album is beautifully recorded helps too, of course. And I'm really glad that the band have seen fit to provide a full booklet with lyrics this time round - now we can appreciate the artful construction of the songs even better. Sweet Fast River is an exceptionally strong set, brimming over with confidence and musicianship.

David Kidman