You could well formulate a theory that ‘We Talk Like Machines’ is the key to understanding New York band Savoir Adore and their debut In The Wooded Forest. That song’s conflation of man and machine, so reflective of life in the 21st century, also underlines the graceful fusion of naturalistic and electronic elements that the band’s album consists of. Further to our theory, it’s tempting to imagine that each side of the band’s sound reflects the personality of one of Savoir Adore’s core members, Deidre Muro and Paul Hammer. How far that’s really case, though, is really an academic sideshow to the simple reality of how invigorating an experience this album is.

Although a good few of their songs are a real thrill, one of the things that makes In The Wooded Forest so repeatedly listenable is its patience, its subtlety. Savoir Adore have deftly side-stepped the apparent requirement, believed in by so many bands, to be louder, faster, glitchier than the competition. Their poise and precision oozes from every pore of this album, from its slow-building but abruptly-ending opener ‘The Scientific Findings of Dr. Rousseau’ to the intriguing decision to make the title track essentially instrumental, forgoing lyrics for a uniquely uplifting synth template and some of the best of Muro’s transfixing wordless vocals.

It is this intelligence and verve which is crucial to making In The Wooded Forest as consistent as it is; the more immediate tracks like ‘…Machines’ and the wonderful ‘Bodies’ have a depth to them that keeps you coming back – there is real nutrition there, besides the addictive sweetness. What’s more, the quieter tracks also benefit from this depth and strength of purpose, leaving them a world away from the also-ran status which befalls all too many more downbeat album tracks on pop records. At album scale, the result is a fine balance from which Savoir Adore – and the listener – benefit enormously.

Of course, it’s those immediate tracks which worm their way into the affections first but each subsequent listen of In The Wooded Forest unveil new treats; one such gem is ‘Space Travel’, a concoction of guitar and bright synths made magical by its inclusive stargazing lyrics – “everybody knows their way / for miles and miles of stars and space”. The euphoric guitar-led climax is one of the album’s very finest moments, leading into the similarly wonderful ‘Honestly’ on which Muro and Hammer each take their turn to confess that “Nobody told me it’s OK to grow / I didn’t know” over an unusual appearance by an acoustic guitar.

Conversely, some will favour the dip into revisionist disco on ‘Merp’ or the clutch of more serene songs which closes the record, helmed by the dreamy closer ‘The Garden’ but if one of these songs capture your attention then you’ll struggle to find fault with the rest. Upon its UK release, we can revel in the realisation US audiences have had for a little while now; that Savoir Adore have crafted a strikingly accomplished debut album, which like so much of the record’s own inherent positivity points to bigger and better things to come.