In terms of names we'll put 'callpoint issue' as the name for today. Does that seem ok? Hyperbolic? Possibly. Arrogant? On occasion. Farcical? To cynics, perhaps. Nonetheless music would be considerably poorer without Americana. And I am not its only acolyte. The Killers owe a great deal to our fondness for the stars and the stripes, whilst the Black Keys would be my preferred illustration of its current popularity.

U.S. Royalty's debut full length album Mirrors enthusiastically pins on the Americana nametag but rather than producing a series of tracks that evoke one particular region the band have managed to encapsulate a broad geographical spectrum of sounds and images.

The opening and incidentally the title track of the album, drools into perspective: iconic mid-west guitars whine and drums rattle like Clint Eastwood's spurs on a dusty frontier street. This purely instrumental introduction is rapidly juxtaposed with 'Hollywood Hollow's, a scuzzy, hot and sensory psalm on vice, corruption and ensnarement "she won't let me be, L.A. won't let me be".

Apparently Mirrors is the product of lyrical tweaks and musical adjustments carried out over the course of twelve months spent predominantly on the road. Singer John Thornley says this experience gives it a distinct travelling vibe and although there is no coherent roadmap the various tracks push the listener relentless across the fifty states.

You can practically hear the horses hooves in 'Monte Carlo' where we are told to "follow your heart, your American soul". 'Equestrian' has a southern, banjo-sound, although the lyrics are damp and unoriginal; surprising considering it has been chosen as the first single. Thankfully 'Equestrian' is little more than an anomaly as 'Old Flames' and 'Give Up the Ghost' are lyrically fascinating, exploring regret, longing and disappointment. The former has something of the Jeff Buckley about it.

'Fool to Love' is without doubt the best track on the album. It has an entirely unexpected sixties sound, stretching from the bounding guitar, drifts of sitar-like chords and a key-change chorus. Their attachment to the concept of movement is just as redolent here, "haven't slept a wink in days, been flying coast to coast".

Mirrors ends aptly with 'Voice Memo', a somewhat haunting and echoing discussion on disappointment but also the value of good, honest company. The album intelligently ends at the sea, musically stretching out across the horizon the previous nine tracks exhaustively crossed.

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