The press release and artwork for “Raft” imply a folk and blues tradition, an acoustic instrument-driven meandering along the theme of vessels and journeys, and this is part of what it contains- but with added sporadic layers of modern, high-intensity glitching and digital production that veers things off in a very different direction.

The twangy guitar introduced in “Guayaquil To Tully” is the prominent common element, and sounds almost Acker Bilk-like at points, and it’s not until the second and longest track “Las Balsas” that more exotic gentle Hawaiian-sounding percussive patterns begin to emerge- with the exotic theme exposed less subtly on “Malama Honua”. “Vital Alsar” is a rather quirky number smothered in flange effects and with a drunken drum & bass tempo.

The album is dedicated to an old friend and ‘life mentor’ of Cooper’s, with an accompanying story that’s initially warm but has a tragic end. This is respectfully reflected in the tinge of melancholy that is sewn into the playing- this is not simply musical relaxation, there’s an unquestionable sadness there.

It’s an unorthodox melding of Hawaiian-style beach lethargy and indulgent improvised blues guitar noodling, with just a smattering of modern electronic framework, which definitely works, and which stands out as having a very unusual and strangely sweet character.