Following on from their acclaimed-third album No Witch, Naomi might be aesthetically similar but the thematic identity and ambition of the songs has shifted. Overall, this new Cave Singers record is without doubt lighter in tone - Seattle sure sounds different in 2013.

"She was better than my best dream, she was" Pete Quirk sings on 'Evergreens', a loosely-wrapped individual acoustic piece from the middle of the album. Throughout this record, the more relaxed, autonomous and off-kilter moments are the most enjoyable. Take the infatuating improvised closing sections on both 'Northern Lights' and 'Early Moon', then compare them to the album-opener 'Canopy' or 'Easy way' - don't the latter duo just seem a little lifeless? These types of songs periodically frustrate Naomi and her flow, from the start of side A to the end of B.

A memorable constant is Derek Fudesco's effervescent, enjoyable, textured guitar-work. Whether it's the arpeggiated decoration of single 'Shine' or the emotive 'Karen's Car', he manages to be boorish and simplistic in his work. Stylistically though, he is juxtaposed by over-zealous Marty Lund's militant snare drum - this does intrigue at times but every-so-often it undermines tender moments.

There's something a little too straightforward about the production of this record. Had it matched the atmospheric nature of the songs, it could've been unwittingly complimentary, however, the constrained sound which Phil Eck has given this release just seems uncharacteristically contrived. Significantly, the sound of the vocals reverbs are sharp and artificial, and in this instance lack authority.

Isn't 'Northern Lights' beautiful? "Like a crow that is blinded, from some darkness inside." It has a "dust-bowl" narrative which is both entangling and intelligent. The warped chorus refrains, Quirk's promiscuous vocal, and the instrumental evolutions; it is this record's jewel.

Naomi is a bit of a repetitive character. Many of these twelve songs take a similar form to one another sonically, rhythmically and in their actual structures. It's an old-fashioned idea in the world of folk music, but there's something a little too habitual about the nuances of pieces like 'No Tomorrow' or even the leading single for it to inspire the peasants. The closing three tracks of the album are completely different entities though, and they suggest something truly dynamic and progressive which will inspire you to reconsider the earlier songs.

With some re-prioritising, cultivating and time on the cutting room floor Naomi's feet would've found ground. Though too late, the last fifteen minutes of the album reveals songs which are forcefully transforming the record into what it had longed to be. The release is largely out of character from a group who are undoubtedly artistically adept enough to avoid the self-exile of becoming "a leaf that blows away".