Initially scheduled to come out last October (and delayed for some reason), Habibi's debut full length is unpretentious, straightforward and pretty wonderful. Featuring Arabic influences throughout - lending it a spooky, mysterious aura - the Brooklyn quartet's first album is highly addictive and will probably be spinning on my turntable a lot this year. Obvious heiresses of post-punk bands like The Vaselines, Raincoats and The Slits (although much less involved with the social-political side of the Riot Grrrl movement), Habibi have that DIY sound of a band that knows exactly where they're going, and how to get there. Also, I'm pretty sure Kurt Cobain would have been a huge Habibi fan - I can definitely see Nirvana covering 'Persepolis' for MTV Unplugged.

'Let Me In' was the first single shared by the girls as an album teaser, showing how lo-fi and twee the quartet intended to be. And then you have gems like 'I Got The Moves' or my personal favourite 'Detroit Baby' - a clear reference to band members' Rahill Jamalifard and Lenny Lynch's hometown - that involve you in their steady rhythm and solid, flawless approach music. Most of the album's sweetness comes from excellent bass riffs and the Motown-like vocal harmonies, making the girls sound like the love children of Smashing Pumpkins and the Supremes. 'Sunsets' and 'Far From Right' (the album's opening track) had already been shared as part of their debut release, but that doesn't mean they don't fit beautifully on the album's line-up. It's very interesting to observe the way they didn't emphasise 'Sweetest Talk' as the lead single, allowing the album to flow at its own rhythm.

'She Comes Along' appears as the slow ballad made to be danced to by the class of '85. Clearly contemplative, the track's beauty resides in the smooth guitar riffs that invade you like a warm summer breeze at the local drive-in. And while 'Siin' messes with your heartbeat causing temporary tachycardia, 'Tomboy' is early American rock'n'roll with a twisted, yet naïve attitude; a 'We Can Do It' sign that doesn't take itself too seriously. Closing the album, 'Wrong To The Right People' brings heralds the return of slow-paced surfy tunes while the hypnotic vocals rock a cradle filled with midwestern dreams of grandeur that will undoubtedly come true. The track's BPM then increases to a moderate climax - no fuss, just a chilled out ending.

I have only one complaint about this album: it's way too short. By the time you reach 'Wrong To The Right People' you have the immediate instinct to hit replay, and suddenly - bam! - it's over again. A follow-up sometime soon would be nice - pretty please?