It feels like a long time has passed since the release of Thirst For Romance, the debut album from Cherry Ghost. Its contents were roughly embraced by late night Radio 2, its smoky aesthetic and dark, northern vibe marking it as an almost quintessential Mark Radcliffe album, who played singles ‘Mathematics’ and ‘People Help The People’ seemingly non-stop. And rightly so, as they were wonderful songs, the highlights of a rather patchy album that contained a few high points but much that just floated by.

Three years on, and chief songwriter and singer Simon Aldred has somehow managed to make everything seem even smokier, and darker around the edges. Beneath This Burning Shoreline is a blend of melancholic regret and euphoria, smoothly recorded but with hints of quirky experimentation. Blessed with a highly distinctive voice, Aldred manages to touch upon the sound of Elbow and Doves without it seeming too much of a homage, his vocal hoisting individuality and originality to the tracks. The subtle closing remarks made on ‘A Month of Mornings’ showcases this calming effect; his voice low and confessional, balanced against the delicate backing.

The albums real shining light though is the song ‘Kissing Strangers’, an anthem that somehow avoids an urge to drape an arm over a companion and sing along. It sounds strangely refined, and as he sings “trawling the night sky, drinking the bars dry” you don’t imagine a rampage of Stella, more a civilised night of Merlot rounded off with a glass of Hennessey. It speaks more to those employing babysitters than the young, to a more adult audience, but this is no complaint. The other highlight is the stomping ‘Black Fang’, a song of devotion that builds layer upon layer of sound and exhilaration.

Quieter songs like ‘My God Betrays’ sit well with this, with shuffling, brushed drums and a metronomic guitar line, followed by the equally downbeat ‘Barerini Square’. Both halves of the album manage to provide enough light and shade, ‘Only a Mother Could’ light and jolly, ‘The Night They Buried Sadie Clay’ gently orchestral. As an album this certainly has the edge over their debut, an improvement both lyrically and musically. Aldred has an imagination that adds flavour to his words, and clearly labours long and hard to get the finished product this good.