Energy, commitment, in-your-face quality  

From the opening chords to High Germany, which are percussive, to the reflective layering of accordion and fiddle on Dylan's I Shall Be Released there isn't a moment of musicianship which hasn't been thought about and skillfully blended.  Suntrap fans will now them as consummate live performers, and it's a rare achievement to capture that electricity in the studio so successfully.

Four traditional tracks are included.  Above their crisply driven instrumentation the voices are clear and strong, and where they've chosen acapella in Two Brothers the duet brings out the personal tragedy.

Paul Hoad and Sara Byers both contribute songs which reflect more modern preoccupations: urban angst and love-tangles.  How much you like these will depend, I suspect, on whether you prefer June Tabor's style to Kate Rusby's, or Steve Knightley to Martin Wyndham-Reed.  The harmonies in Enter the Queen Might arouse the urge to light joss sticks in those of us old enough to remember Crosby Stills and Nash - and that's a compliment!

Their cover version of Ron Kavana's sublime Midnight On The Water shows what a fine country outfit they are, and there is more than a hint of Ry Cooder's determination to have a bit of everything on show.  Memo on bonus tracks, though: if they're strong enough they should be on, if not, they leave this listener wondering what they're doing there...  Mary Wilson's fiddle playing throughout  is sympathetic to the needs of each song, subtle or industrious.

So some country, some traditional, some familiar, some hot off the word-processor.  Intense arrangements.  Light and dark.  Some might prefer a more focused range of material; I like the variety, myself.  there is a recognisable Suntrap sound which unifies the album.  And their live act is well worth catching.  Energy, commitment and in-your-face-quality: a good night out.

Bob Kenward.