Peggy Sue's debut album, Fossils and Other Phantoms, was one of 2010's most unfairly ignored records. On it they glanced back on their quite hefty Myspace-era discography and took it a step further with a groundwork of effective vocal harmonies, guitars and drums. Follow-up, Acrobats, came out a year later and built on the sonics of its predecessor, adding a touch more darkness to the palette and cementing the identifying markers of the trio's style.

The band's third (proper) album, Choir of Echoes, arrives after two and half years' hiatus (an esoteric Scorpio Rising covers album in 2012 notwithstanding) and, to be honest, it probably thinks itself more different from its older siblings than it actually is. This is not necessarily the be all and end all, of course, but for a talented band with quite a prolific repertoire of songs, to keep treading the same path - sound-wise - is notable.

But that is the extent of the bad news.

The good news is that Choir of Echoes nevertheless boasts a cohesive set of songs with some excellent compositions, which lodge themselves in your brain's music department fairly quickly.

The press release refers to it as an album about singing, about losing your voice and finding it again. The band is quoted describing it by reference to "[v]oices keeping each other company and voices competing for space. The call and response of the kindest and the cruelest words. Choruses. Duets. Whispers and shouts." That's a pretty fantastic and accurate way to describe it. Rosa Slade and Katy Young's voices drive the songs and, even when they are at battle with the (at times) attention-seeking drums, there is a sense of beautiful, mellifluous cacophony.

A cappella opening track, 'Come Back Around' is an instant reminder of how well Slade and Young's dulcet tones work in unison. It is followed by the percussive tremble of 'Esme' and the immediate foot-tapping 'Substitute', which alongside first single, 'Idle', stand among the album's outstanding cuts.

Like 'Substitute', 'Idle' kicks off with purposeful guitar, which pricks your ears from the go. Gospel-y vocals and chants of "Let the devil make work for my idle hands" cement this rhythmic blues rocker as a highlight. It's a song with drive and elegance which, in turn, gives a good taste of what the overall sound of Choir of Echoes rests on.

The beautiful but all-too-brief 'How Heavy the Quiet that Grew Between Your Mouth and Mine' is reminiscent of Wichita label-mates, First Aid Kit, and the harmonies on it are some of the best on the album. Elsewhere, the song most closely resembling early-days Peggy Sue is 'Longest Day of the Year Blues', which could easily be mistaken for a Peggy Sue & The Pirates single from 2007.

It would be interesting to hear Peggy Sue trying new arrangements and adding more instruments to their soundscape in the future but for the moment - all in all - strong lyrics, powerful vocal harmonies and unpredictable melodies make Choir of Echoes a fascinating, enjoyable listen.