Too often is hype to blame for the inevitable, and pretty immediate, decline of a modern musician’s career. There is a fairness to it, in some cases, but more often than not the decline is left to artists who have been made to, or perhaps have at their own behest, rushed through the process of putting their initial stamp onto the wider musical consciousness and have been left with scraps at the end of a gruelling stint of promotion, having only sated a wider demand for immediacy.

Where the difference lies is in the ethic of those who befit the titles thrown at them – Elbow are probably the finest example of this. Plying their trade without a sniff of the spotlight for so long yet doing so with a glee and unperturbed momentum was what made them who they are today, mainstream recognition and all. So to see an artist like Alessio Natalizia, aka Banjo or Freakout, garner a similar, if slightly perplexing, level of acclaim having emerged from his ‘bedroom artist’ tag into a fuller, band format is not only refreshing but, dare I say, necessary. And with this, his new formation’s debut release on Memphis Industries, there is only further proof that good things come to those who wait.

Lead single ’105′ is a deceptive opening track, by all accounts, with its lullaby chorus singalongs of “I’m thinking of going to sleep” segueing into a saccharine combination of declining guitar licks and reverberated swoons. Once ‘Go Ahead’ opens with its more elctronically inclined, Animal Collective homage of animalistic, high pitched guitars, the tone shifts into something infectiously uplifting. Swathes of oceanic noise bathe over the straight-forward drum echoes, leaving Natalizia’s psiren like switches of register to be lifted to an almost enlightening new plain of sound. ‘Can’t Be Mad For Nothing’ enhances the senses even further with its incorporation of his unique creation of electronic sculptures, leaving a single, crackled kick drum to tether the rest of the congregation of hypnotic sounds into a breathtaking abyss of sound.

Where the change of tack in sound from his previous noise-heavy output rests strongest, however, comes half way through the albums course in the form of the dual pronged sugar rush of ‘Idiot Rain’ and ‘Fully Enjoy’. The former’s simplistic guitar serenade would be enough to lull you into a blissfully absent mind alone, but as the glorious plucks of monotonous bass gallop alongside the harmonics of the chorus and become enveloped by a penetrative chorus of angelic hums come the end, it becomes the sort of unintentional anthem that even the clearly homaged Bradford Cox would be proud. The latter, ‘Fully Enjoy’, then becomes the perfect middle ground – a perfect display of Natalizia’s evolution from noisemaker to craftsman, incorporating complex guitar segments, intricate electronic textures and oddly infectious vocals into a deceptively unforgettable piece of alternative mastery.

It’s left to the build up of piano keys and drums thrusts of ‘From Everyone Above’ to compete with its predecessors for an aural podium, but it’s anticlimatic disintegration prove that it was never meant to be treated as such a competitor. It’s merely another example of just how the low-key maturity of Natalizia’s songwriting has aged majestically in amongst a sea of those reverberated cries for the immediate. ‘Blacks Scratches’ could very easily slide into the Transatlantic section of Death Cab For Cutie’s lauded canon, whilst ‘Dear Me’ could ride alongside any of the current batch of post-psychedelia beneficiaries. But, again, these are mere snippets of the budding genius that Natalizia is. It is within the near-derided life form of the album in which he obviously thrives – where there is an ability to not have to play to those who need a fix, but more for those who enjoy the companionship of music.

It’s not very often that an album of this sort of muted diversity can permeate into a wider consciousness, but Banjo or Freakout most definitely deserves all of the plaudits that is thrown its way and more. It is not an album underpinned by hype – it is a finely tuned statement of intent from a young songwriter who, like very few others, has an incredibly patient yet potent Midas touch in his craft and is something that will inevitably be cherished beyond its immediate realm of hyperbole.