Blues-rock, like so many genres that have stayed somewhat current throughout the decades, can be utterly outstanding this far down the line. However, with such examples in mind as the chaotic shambles that was The Dead Weather’s second album, there’s a lot of sleazy, half-arsed, attitude-based bollocks out there too. Thankfully, Brooklyn-based duo She Keeps Bees remain firmly in the former with the release of their intriguing third album, Dig On.

To say the band’s writing has developed since their last album, Nests, would be an understatement. The twelve tracks on Dig On not only show a heightened attention to dynamics and general attitude, but also, without compromising the authenticity that is such a huge part of their appeal, deliver the accessibility that many felt the band previously lacked. The ferociousness with which Jessica Larrabee howls the stirring closing lines to ‘See Me’, for example, brings a depth to the band that was never present in the same way before. There is also, dare I say it, slightly more enjoyment and honesty coming through on this record. ‘All Or None/Dark Horse’ sounds almost primal, and racked up next to the intensely retro sound of ‘Farmer’, upholds the band’s rustic Western feel whilst actually making the listener feel somewhat more included in the whole thing.

Even without mentioning the actual musicality of it, there is a great deal of The White Stripes’ sound in this album. Whilst displaying more prowess, Andy LaPlant hammers the enormous-sounding yet suitably dry kit in a manner not unlike Meg White. However, whilst much of her guitar sound and composition emulates Jack White’s, Jessica’s vocals surpass his overly raw bleating and uphold the record with both grace and grit. The epic power present in the album’s lead single ‘Vulture’ is by far one of the standout moments on the album, employing thunderous cymbals and regular time signature changes that occur with no warning. Hearing Jessica’s voice crack as she cries the word “power” is a blues moment of the most commendable and genuine kind.

Still, there are moments when the general feel of the album begins to grate a little. One such moment is the very predictable ‘Calm Walk In The Dark’, which does nothing that has not actually already been heard on the album already, and leaves you rather dying for a change of key. In fact, by the end of the album it’s very hard to remember specific songs or their hooks, and although it was an enjoyable ride there’s a slight underlying feeling of “is that the end already?”. Atmospherically, however, this tends to work in the album’s favour, as it’s very easy to get lost in the hazy blues sound and forget just how basic the fundamentals of the record are.

Whilst the band have respectably kept their original vibe for their third album, they have definitely come into their own in many ways. It may not be one to top the charts, I’ll be very surprised if it doesn’t garner them an even bigger and more devoted following.