Formed in Leeds, but now based in London, The Rosie Taylor Project follow up their acclaimed debut album with Twin Beds, a record where they have again worked with Wild Beasts producer Richard Formby. Having already played with a whole host of indie-folk legends – including Jeffrey Lewis, Jens Lekman and Camera Obscura- the six-piece have also long been a favourite of the alternative blog community, and the likes of 6Music have given them much praise and airplay. Released on Oddbox Records and with such an impressive background already, will this album be able to bring them up to the next level?

The band’s interests on their Facebook page is listed as ‘Romance (pursuit of)’ and this is as good a starting point as any for those unfamiliar with their restrained and understated sound. Opening with ‘Twin Beds (One)’, an atmospheric piece with echoes of post rock – all reverb and soundscapes, the vocals come in with Jonny’s opening lyrics: "We were two heartbeats, lonely as we could be," the song hints at bursting into life but is reigned in leaving you with a sense of heightened expectation of what is to come. The trumpets bring the following ‘For Esme’ to life which comes across somewhere between Sufjan Stevens’ melodies and Meursault’s atmospherics, while also harnessing Noah and the Whale’s eye for a heartbreaking pop song. The trumpet that gently lifts over the middle of the song is almost inspiring. The sumptuous boy/girl vocals are also one of the band’s major plus points, making lyrics like "Death will shortly come without that" (‘For Esme’) and ‘The Last Happy Winter’s: "She was in my head for days, now I miss my friend" packing even more of an emotive, personal punch. The latter song seemingly designed to make you cry, especially when a heartfelt Jonny sings: "I have a room of memories and I have a box of regrets."

‘Every Morning and For The Rest Of’ also contains extremely personal lyrics, reminiscent of Elliott Smith or Low, while the music has a British Sea Power at their most gentle/Mimas vibe before the climax of the song ends with jazz trumpet and a Los Campesinos!-style spoken word breakdown before it gently returns to the indie-folk song it began as. This continues with the atmospheric ‘Last Drinks at Niagara Bar’- a song about regrets and debauchery that includes the unforgettable lines: "I was a drunk at the opera, too tired to fuck, too bored to make love." A 90-second blast of acoustic guitar and effects on ‘A Young Couple On The Street’ is the perfect restbite from the sadness, sounding very much like incidental film soundtrack music, while ‘Sleep’ starts with Sophie’s soothing harmonies, but she’s soon interrupted by the very direct: "I’m the tongue in your French kiss." This candid openness helps you build a closeness with the band as it triumphantly morphs into a duet, building up the foot-tapping pace, sparingly using the trumpet and unassuming drums. While The Rosie Taylor Project’s influences are easy to pin down – The National, early Elbow, Bon Iver – the band’s heartwarming honesty will strike a chord with many who give them a listen, and there is an everyman quality that is impossible to ignore.

No-one who has experienced a broken heart will be able to resist the sweetly sung "for a moment I loved you" in ‘A Walk By Moonlight’, a tale of loneliness and regret. The closing ‘Gloria’ seems to nod in the direction of Frightened Rabbit and has almost spoken-word delivery as Jonny sings “Increasingly she would look up to see I was in a terminal decline” before moving on and coming up with the closure of "We can’t stand still – let’s just get over this." The perfect break-up song, and a fine stab at making a grand record for the broken-hearted.