Along with an effortlessly melodic voice, Moray's willingness to experiment has made him one of the brightest, if most controversial, young talents in English folk. His fourth album arrives in a bluster of buzzsaw guitars that bury voice and song ("Bristol Harbour"), and continues with a whimsical spoken-word "Spencer the Rover" that loses the pathos of its famous template. Elsewhere, Moray dazzles, whether on his own "Hard", a tender love lament, or the ancient, ghoulish "Long Lankin". Along the way there are Beatles-eque harmonies, full-blown string arrangements, and a marvellous duet with the Unthanks' Hannah Peel. Inspired but erratic.