Flying Ibex started out as the resident band for a South London "commune of artists" (an existence that is, in theory, so Bohemian-sounding that surely even the most corporate city suit is a little envious), improvising to silent films and theatre pieces. Since making their own way their influences have been identified as including African tapes, Brazilian Maracatu and analogue gear. Which would all set this up nicely for an introduction of a self-celebrating, ostentatious and tedious album - impressive technically but short on actual, enjoyable songs and a pain to listen to.

Thankfully, Habits is not as abstract as such origins may lead you to expect. Courtesy of musical competency, melodic proficiency and no small amount of charm Flying Ibex sidestep the bored antipathy that is typically the deserved reaction to small-label indie, white and British interpretations of "world music" influences. While their debut album, 2012's Travel in Dangerous Places, largely consisted of the solo work of vocalist Barnaby Keen, Habits brings in the talents of drummer Dave De Rose and bassist Nathaniel Keen, and the shared experience of the trio shows throughout; evidenced in the natural, gentle grooves of album opener 'Two', and in the effortless hooks that give tracks like 'Palm Tree Killer' their bite.

With the sun-stroked, dub-influenced lead single 'You Dared Me', the kalaedoscope pop of 'Clear' and the space-reggae of 'Something was Cured', this is an album that recalls the weirdness of Django Django and is reminiscent of the alien grooves of Yeasayer. Though it perhaps lacks the mainstream sensibilities or ambition that have made such artists so prominent, Habits provides a lush and perfectly enjoyable, if unremarkable, experience.