The ensemble returns with new material in album form, though the act is probably best renowned for their live performances and touring and having that chap from The Guardian who does what his wife tells him in the lineup.

This crew are armed with much instrumentation, some of which is not among my favourite set of musical implements, namely banjo and accordion ( what’s the perfect pitch for an accordion? When you throw it into the skip and it lands right on top of the banjo..) but we approach all new releases with an open mind, asking what’s being attempted? and how successful is it? Whatever the genre.

This outfit has contextual cred – they were one of just three acts invited out to Nashville to perform at the renowned Americana Music Association Awards and our man and site friend Bob Harris favours them. Police Dog Hogan are also heavy hitters at festivals, this is truly portable music of general appeal, right from their formation back in 2009.

Tyburn Jig rocks us into the collection with martial drumming and strident Fairport-style emphatic fiddle, impassioned vocal to the fore as the wild fiddle figures dive in and out of the ensemble sound. A dark lyric set to a catchy folk melody and echoes of The Men They Couldn’t Hang, if you remember them. The coda brings a frantic pacing and cruising horn figures. A good example of a song really going somewhere..someone in this crew understands dynamics, for sure.

Dixie is a banjo-sprinkled tale of a female from Brum with what sounds like 12-string guitar. The group sound reminds me of jangle-kings The Mutton Birds from New Zealand ( ‘Dominion Road’ if you wish to check them out – PS). This band sound more sophisticated and less self-conscious than the likes of Bellowhead, on this showing; Devon Brigade uses a soft acoustic guitar intro to weave a story of conflict. The strings sound mournful, the guitar insistent. Quite affecting. Tomorrow’s Boys evokes early Steve Earle. Allowing for the different accent. A catchy song with jolly brass over rolling banjo ; In The Country takes robust tempo organ chording and jaw’s harp for what sounds like a concert number where participation is encouraged. Catchy enough.

All You Know About Love is a steady-tempo’s reflective song sung in a lower register – a different singer? I don’t have personnel notes – and I’m wishing they’d used a 12-string instead of a banjo as it would sound closer to the great Gene Clark. Maybe the best song here. Black Road is downhouse country-folk and an insistent vocal, perhaps a set-closer? Let My Spirit Rise with its pattering drums and tremelo’d electric guitar has trace elements of Johnny Cash and an overall warm sound with distant reverbed slide guitar. I’d love to play harp on this! The One On The Left is a gentle bluegrass lament and with a different mix (viz. electric piano addition) would make a fine radio-friendly single.

Our Lady Of The Snows – great title – uses the violin really well. They do like their story songs, this group. And it makes the set more interesting than say just drinking songs or dance tunes. East Nashville Back Porch Fix is a pacey banjo-led line dancing gem in the making. Fare You Well is a foot-tapping closing number. The strange thing about this record is that you do wonder they want to sound English or American, the singing styles jump from one to the other. But the songs are varied, consistently well-played and sung and the rhythm section thinks on its feet to enhance the songs.

As with all big line-ups, they do need to be careful they are not all playing all the time, especially live. Listening to the wonderful self-editing blokes in Little Feat taught me the value of this. I have no doubt PDH deliver on stage.

Pete Sargeant

(Many thanks to Stevie and Kairen)