well To Great', aptly named after an organ stop, was unusually written with the malfunctioning instrument at the cen/tre of their songwriting. A stimulating approach that melds the old and new through their instruments, delicate harmonies and rich compositions that are steeped in traditional and contemporary folk music. The restrictive process even had their wheezy founding member, the harmonium, controlling the pitch as the intrepid band members tuned their tools accordingly. T]he quartet's songs are embedded in the sea and the landscape of the shoreline. Emily Scott's tender lead vocals soar over the sweeping cello, bel/lowing harmonium and gentle percussive crashes on lack Street', ottle Green' and leep', while hidden in its depths Rob St John, experiments with tape loops that are buried within the layers of their orchestral arrangements. St John, known for his field recordings and art/science projects, cites as his guiding inspiration Brian Eno's experimentalism and pop sensibilities. Unfurling bucolic stories come with Scott's lyrics for each song. Includes an exceptional ode to Shirley Collins' rendition of traditional song old Fisherman' that featured on hirley Inspired' compilation.