The Calamatix: The Calamatix LP (Hellcat Records)

Sounding like an Asterix character, The Calamatix are a collaboration between twenty-something female singer-songwriter Raylin Joy (born in California, spent much of her upbringing in Scotland, now back in the US) and industry veteran Tim Armstrong of punk-pop icons Rancid. Its catchy, upfront sound teams Joy's strong, soulful vocals with old-school reggae and ska influences and more than a hint of the 2-tone and post-punk acts (Specials, Clash etc) Armstrong grew up digging. This is easily digestible stuff, three-minute tunes with singalong choruses, earworm melodies and uncomplicated messages that would work well on the radio, at a bar, on a festival stage or at the beach.

Recorded in a matter of days, the tunes' sunshine grooves contrast with lyrics documenting Joy's struggles with dark times and her apparent emergence into the light, thanks to the joy of creation and her colleagues' camaraderie. Hooky, succinct but spacious, the album's sound is filled with instantly recognisable old-school reggae licks - Hammond swirls, skanking rhythm guitar, stabbing horn-lines etc. This particular reggae-head, however, would have liked heavier, more dubwise bass to increase the music's hypnotic element.

Opener Love, Lies & Alibis sets the album's mood - under pressure but not downhearted ('I'm on my own again...'). Highlights include a killer guitar tone and country-tinged, Nicole Atkins-eqsque vocals. Believe It Or Not brings the ska trombone, while the positive affirmation of Still Rudy nods once more to the album's key influences.

Rootstyle is hands down the standout track, an anthemic groove with half-spoken vocals, great organ and horns and a strong vocal melody ushering us onto the dancefloor. Book Of Love slows things down to a chilled midtempo skank and lilting guitar, a loved-up ode to a man who 'treats me like a queen'. It's not all plain sailing though: Dread is a deeper, darker meditation whose gnarly guitar squalls decorate the tale of a love that is dying on the vine despite both parties' best intentions ('Why can't I let go? / Why can't you let go?').

Boom Bap's vocals have a touch of Adele circa Rolling in the Deep but it's not as memorable, while Enjoy This Life boasts a nice nice bit of wah-wah guitar but is more of a groove than a song. However, things pick up again in the home straight: Phone Call has a strong chorus melody; the somewhat cosmic Before It Stops tells of astral travelling and the importance of freeing your spirit. Closer Tupelo Honey is a skanking cover of Van Morrison's '71 soul classic that works without challenging Van the Man's version.

Overall, the album's inspired, rapid-fire gestation gives the songs a fresh, natural, not overthought feel. It means that some feel less than complete. However, strong vocals, clean and effective production and universally applicable sentiments add up to an appealing, immediately accessible album custom-made for long summer days. 4/5