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Subtlety is an overlooked skill, particularly within the world of music. Take Derbyshire group Haiku Salut, whose second album Etch and Etch Deep is a wonderfully understated piece of electronic flavoured folk music. The trio of Gemma, Louise and Sophie have already created one fine album, Tricolore, and this follow-up manages to consolidate and expand their sound.

Their band name is a clue to their way of working. Many people will be aware of the Japanese word "haiku", which refers to a piece of writing traditionally created from only seventeen syllables. Yet there is another essence of haiku, which has been carried on by more modern writers, which is the concept of "cutting". This is the skill of juxtaposition, where two disparate ideas or images are placed together with a "cutting" word joining them together.

They are all about contrasts. There are no words to their songs, yet they have published their own book of haiku (the splendidly titled 'Japanese Poems Steal Brains'). They perform with a mixture of electronic and acoustic instruments and live shows have seen them programme vintage lamps to flash, flicker and fade in sync with the music.

The musical pieces on Etch and Etch Deep are delicate and reflective, but most of all they weld together two fairly disparate types of music - folk and electronica. Of course, they aren't the first to do this, but of all the bands that have been labelled with the hybrid genre-tag of folktronica, Haiku Salut may be the band that it fits best.

Squeeze box melodies sit happily beside synth patterns on the opening track 'Bleak and Beautiful (all things)', and electronic beats and pulses creep in over simple chords and xylophone melody on 'You Dance a Particular Algorithm'. Despite coming across as a strange mix in theory, the trio blend the different influences so well that the juxtaposition does not jar.

'Divided by Surfaces and Silence' is a gentle piece with mostly piano and accordion, and the equally delicate 'Doing Better' has some pretty acoustic guitar lines.

'Becauselessness' drifts and drones as its title suggests, and 'The No Colour of Rain and Dust' uses electronic crackles to set an eerie atmosphere.

'Things Were Happening and They Were Strange' and recent single 'Hearts Not Pearts' (sic) hint at bigger soundscapes, with big melodies driven by the bass lines and a wall of female voices in the background.

This music recalls the minimal quirkiness of múm, the melodic sweeps of Sigur Rós, and at times comes across like Yann Tiersen's Amelie soundtrack if had been transported to the recent future. It is still surprising to find that Haiku Salut have created all this in Derbyshire and not somewhere more exotic. Ultimately though, it is about mixing disparate influences and seeing how they blend together. Happily for all of us, this approach works brilliantly.

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