Sleeping States is the musical project of Markland Starkie. He’s based in Bristol which comes as no surprise as his music exemplifies the originality and distinction that the locality has become so famous for. Starkie has been releasing his music for a number of years including a series of limited run EPs and 2006 single ‘Rivers/London Fields’. IN THE GARDENS OF THE NORTH is spiced with literary inspirations including WG Sebald, Kafka, Robbie Basho, Jorge Louis Borges, Benjamin Britten and soundscape theorist R Murray Schafer. In an unparalleled period of exposure for singer/songwriters, Starkie offers something different, mature and surpringly accessible.

Rings Of Saturn’ is for me the standout song of this beguiling song collection, and is a strong example of Starkie’s remarkable style. It’s stripped down to the bare essentials with Starkie’s natural, smooth and clear vocal above plucked bass string and wandering keyboard notes. When the vocal stops around the middle-eight there’s a ghostly and extended instrumental/electronic passage before the voice returns to end the song. There’s a tangible melody and a slow pace calculated to compel one to listen attentively, and for me, spellbound. I was reminded of Robert Wyatt’s incredible album ROTTENHAT. ‘The Next Village’ has the most charming and gentle instrumental opening, which is allowed space and time to set the scene. Starkie’s fragile vocal eventually arrives later joined by some of the most delicate vocal harmonies. Sawing, singing cello strings then take over for a brief spell before Starkie completes another utterly mesmerising song. ‘Showers In The Summer’ is introduced by dark keyboard notes before Starkie chimes in with a reflective vocal - a combination of light and darkness.

‘Breathing Spell’ is a song that meanders like a mountain stream, with vocal passages blending into the most subtle instrumental passages. ‘Gardens Of The South’ is dominated by vocal harmonies reminiscent of 50’s easy-listening pop, while ‘Red King’ sees Starkie travelling the vocal range in one of the fastest-pace songs here; it fairly rattles along driven by an unrelenting drum rhythm and rushed keyboard notes. ‘On The Beach At Aldeburgh’ has a startling and scary instrumental opening which rapidly turns into something altogether more relaxing with plucked guitar and a higher key, wandering vocal and soaring vocal harmonies. It’s one of the most descriptive songs on the album; you can almost smell the salt sea…

‘A Spiral Not Repeated’ offers a Low-like, extended instrumental drone which is eventually met by Starkie’s jazzy vocal. I get the strong feeling here that there’s a good deal of improvisation taking place, almost a ‘let’s see where this one goes’ ambience. ‘The Cartographer’ is the most conventional song on the album but even here Starkie manages to inject distinction with his vocal performance and Spanish guitar style that finally enters to complete the song.

Starkie has created one of the most distinctive, beguiling and original albums of 2009. Musically it’s hard to deposit it conveniently into one generic box with its compelling mix of folk, pop, and jazz. But there’s a signature to Starkie’s music and one that will appeal big-time to open-minded, serious music-lovers.

4/5