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to retain a cultural identity that seems to be missing from the modern Americanised dross that is the usual product of British bands today. Why settle for baseball caps and drive by shootings? If you want music that tugs at the soul of Englishness then play on.

The title track follows, a more laid back affair, the bass laying down a solid foundation for a series of layered keyboards, a crunchy rhythm guitar and series of glorious vocal accompaniments and subtle changes of direction. The story starts off with the usual tail of a knight riding into town to slay a nearby dragon. On doing so he finds that the local Pastor is an animal rights activist and the dragon was not a threat to the local inhabitants. A modern message wrapped up in an old tale, a common trick from this band. The Man Who Came In Third is a political rant, charging off in a timing that will make even the most ardent wallflowers want to strut their stuff. Even when dealing with the heaviest of subject matter, the songs don't get bogged down or self-indulgent. Clever lyrics and a good tune are not mutually exclusive. A complete change of direction comes with Gabriel the Angel, a folk/country shuffle, almost a square dance feel to it and a musical rendition of what might have taken place if the murder of the biblical Cain had been brought before a modern court. Strange territory indeed but a great song strengthened by the sublime fiddle playing of that punk legend, Attila the Stockbroker.

The next two songs have a war theme, In the Lines of Graves is a homage to those who don't return from battle, a complex delivery of folk styled vocals coming at you from all directions over a punk tune with a piano making itself obvious and a distinctly anti war sentiment

"Cowards died there too, shot through with bullets, shrapnel and shells, and it's these men we should remember when we march through the village in November. The heroes can look after themselves."

Eventually this melts into the sounds of battle over a chugging guitar and the story of a soldier embroiled in the Thirty Years War is presented. Building slowly over a guitar, the song finally explodes into an epic rock anthem as the story unfolds, a tale of bile and spite, betrayal and remorse, challenging, different and not the most immediate of songs but once you get your head around Blyth Powers way of doing things you will never go back to Britney Spears again. But then if you have kept with me this far you are hardly likely to be on her wavelength

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