Sometimes you hear a piece of music and it seems immediately applicable to a film. It conjures up images of people, places; but not only that – something about the way it rumbles on makes you think of credits, the name of an imaginary movie, the actual camera, the panning shots that will often establish the central characters or themes.

The opening of Passing Place does that. The slow pulse that kicks it off is perfect for the dark abstraction of a credit reel, the fade-in and fade-out of names, places, people; so is the menacing, slow chordal structure. And the song’s set-piece, a reverb-heavy acapella from soprano Sera Baines, would complement that “watched from a distance” style that ushers in lonely characters, people like Harry Caul in The Conversation or (that is, if he wasn’t so tied to ‘The Sound of Silence’) The Graduate’s Benjamin Braddock.

Judging by Passing Place, Loka seem to draw these kinds of connections. ‘The Tower’, bass-light, hinges on a harpsichord sound that, once a dramatic and down-tempo intro has finished, quickens, and sounds like a computer game track; the quickly paced interval shifts of the midi-flute that rises over it are perfect for a fantasy game, the tinny snare rim-shots cementing the video game ambience.

These are two of the best tracks, and the most evocative, on a mostly good album. ‘The Art of Burning Bridges’ and ‘The Sound Stars Make’, are related to opener ‘Entrance’; ‘The Sound Stars Make’ could be the child of it and ‘The Tower’. Again the sentiment is loneliness, and they occupy the same deep, slow, filmic spaces. Plenty of the album’s moments do. ‘No Water’, another instrumental track, isn’t far away, and the close of ‘Attrition Exposed’ waltzes into the epic, a military drum roll bedding an ominous melody.

But ‘Attrition Exposed’ also indulges the over-emotional, and suffers. Second track ‘As the Tower Falls’, a pseudo-smooth jazz arrangement, is weak. It doesn’t matter too much – the album is mostly a thing of class. ‘Sam Star’ a vocal-heavy song that feels like a Loka rendition of a ‘60s revival track by The Coral or The Bees, is, , for example, one that doesn’t fit so well with the idea of that strong, movie-like imagery, but ranks among the best tracks. And yet the album’s bad bits (‘As the Tower Falls’, really, is the only “bad” song and it isn’t even that bad at all, just average and weak by comparison) seem to stick in the memory longer than the wealth of good sections. It’s an unexplainable flaw, but a flaw nonetheless, that somehow and mysteriously, stops Passing Place being a very, very good album