After over a decade in the wilderness, Adam Young returned to the public eye in 2016 with an alarmingly good album.

Last seen in the '90s with grunge guitar bands the Daisygrinders and Big Heavy Stuff, here Young cut his teeth on distorted guitars and the soft/loud riffing excursions de jour. After the timely collapse of Nirvana, Silverchair and Enya put paid to that era, he was resigned to a decade and a half of mainstream employment, desultory gigging and the slow accumulation of new material.

But as a Canadian by birth he was unable to keep the demons of country music out of his head and, in exile, Young embraced them. The songs that started to take root were steeped in alt-country impressionism as much as REM’s outlandish architecture and the fuzzy guitars that survived the demise of smacked out flanno couture. Bush tours with hick, shouty singers such as Den Hanrahan furnished stories and hardened his resolve.

Sensing something spectral looming, Young engaged a team of crack musicians and producers to harness the poltergeists. The result is a hard-wired simulacrum of contemporary country rock. The cinematic pedal steel and electric guitars of Jason Walker and Matt Galvin provide the panoramas that bassist/producer Mike Rix saw as the only things big enough to house Young’s vision. With Jeff Mercer also contributing guitars, Johnny Gauci on the keys and the likes of Emma Swift harmonising on Young’s paeans, Rix had a broad palette to work with.

We're very pleased to welcome Adam Young to the Skyline school of 2018.