We’ve been watching the uninterrupted progress of The Orielles for more than a year now. Charmed by the ballsy decision to release a bruising, near 9-minute long debut single (‘Sugar Tastes Like Salt’) and onwards, through a succession of well-received follow ups and a busy touring schedule, the band have steadily developed a committed critical consensus as Ones To Watch.

Their debut, Silver Dollar Moment, arrives not exactly genre-fresh – in the sense that the bands most called back to when discussing their sound (largely Brit indie from post-punk through to ’93 or so) have been dredged up by any number of their peers, to varying success. It isn’t iconoclastic, so the performance and songwriting really has to be immaculate. Listening to them delivering on their obvious promise is, therefore, a joy.

I take an inordinate amount of pleasure from the obvious nods to Super Furry Animals (‘Sunflower Seeds’), Kenickie (‘Old Stuff New Stuff’) and numerous other, earlier C86 bands – loving references, rather than flat-out thievery – and the obvious musical literacy that this suggests from a band who can’t possibly remember the last century. Only drummer Sidonie B Hand-Halford is old enough to have completed university.

While I’ve mentioned it twice already, there is a great deal more to The Orielles than a strikingly small pile of ripped-off calendar days. The aforementioned ‘Sunflower Seeds’ calls back to SFA’s glory years, when they could effortlessly toss off B-sides of the quality of 'Don’t Be A Fool Billy'. The track has a preppy, dual tempo structure that makes a virtue of the band’s lack of numbers, and piles much of the responsibility for atmospherics onto guitarist Henry Carlyle Wade. His carefully chosen guitar tone, darting between high, flangey waves and that lazy, hazy riff is heavily relied upon throughout the album.

Much of the record maintains a high tempo in line with the singles released so far, but interestingly it’s the one real downer that provides the album’s standout moment. ‘Liminal Spaces’ has a little of the TOPS, and even Alison Moyet about it – a melancholy slow dance dragged along by a chorus-heavy bassline, it adds a much-needed new dimension to the record as a whole.

The band cites The Pixies and Sonic Youth among their key influences. In all honesty, while the former’s Surfer Rosa undoubtedly carries a similar sonic outlook, The Orielles never get anywhere close to plumbing the depths of existential despair of either band. And that isn’t a criticism. The West Yorkshire trio evince a far greater sense of hope in the opportunities open to them than Black, Deal and co. It’s a pleasure to hear the innocent joy of a woodwind accompaniment in ‘Henry’s Pocket’.

The Orielles were live on 6 Music when news of Mark E Smith’s passing broke. Smith wasn’t just a pioneer and a poet; he was a workhorse who believed that constantly forcing out new material was a responsibility, perhaps the most important responsibility of any artist. If this band can demonstrate a similar commitment, Silver Dollar Moment could be the beginning of a very beautiful story.