Head here to submit your own review of this album.

When I'm finally forcibly evicted from the city I love due to my dismembering of the (not racist at all) rubbery-faced Prime Minister you all seem intent on electing next year, Helsinki will certainly become my next home. It offers the perfect mix of civilisation and desolation, of western architecture and old Soviet dreariness, and there's a unique type of sideways sleet up there that I particularly enjoy. Delay Trees are from Helsinki so there's a good chance we'll get on.

Readymade is the band's third album, and I'll admit to having heard neither of the forerunners. Reliant on the press pack in such circumstances there are the usual dependable radio characters who I don't need to name backing this release, and of course Clash Magazine, who are apparently on a mission to praise every single band they hear of as soon as possible, in order to get themselves into press packs presumably. At any rate, heads are finally being turned by our Finnish chums.

Once we're past the redundant organ sounds of 'Intro', 'Fireworks' introduces us to the real Delay Trees with a slightly sped-up version of the opening of 'Feel' by the House of Love. It seems likely Delay Trees have heard a track or two by Guy Chadwick and his colleagues, as vaguely shimmery chords and not-quite-shoegaze vocals (they call it 'dreamgaze' - please don't) are the stock in trade of both bands. 'Fireworks' is a fine track and obvious single.

If anything, 'Steady' is even better, with the vocals of Rami Vierula the focal point of the track in a way they're often not on the rest of the album. Indeed, when the vocals are a little less distinct, as on 'Sister', you're left with the disturbing image of a smirking Ian Brown peering out from behind a tree, winking knowingly, and on 'Woods', Vierula takes the tribute way too far by actually singing just slightly out of tune.

'Perfect Headache' is back into jangly indie territory. When Delay Trees do their European version of Days-era Real Estate they impress without inspiring awe, in much the same way as Real Estate themselves have been doing lately. It's only when we reach penultimate track 'Big Sleep' that Delay Trees make a concerted effort to forge a sound of their own - an indistinct melody, more imaginative vocals and a tricky beat - which is a template they may well have used in their previous output. The track's actually too short, unlike seven minutes plus of 'The Atlantic' which appears to have an additional track bolted onto the end that they almost certain meant to call 'Outro' but forgot to separate off.

It's a likeable album in many regards. It pilfers a little from some odd places but adds enough to just about justify its existence, though you'll want to be a fan of early '90s indie to get the most out of it. I get the impression it would make more sense in Finland, actually. When I pack my chainsaw and head to Westminster next May, perhaps I'll take the album with me.

This is the place you'll find reviews from 405 Readers. To join in, head here.