At a time when all that seems to be coming through the promo pipeline are Razorlight and Killers wannabes, it's amazingly refreshing to unearth an act offering a body of work that's unlike anything doing the rounds at present. The band in question here is Superkings, and they've arrived with their EP, Secret Chiefs (which is more a mini-album to be fair), a collection of songs that seems to have been teleported from another time and place, barely touched by the contemporary music scene.

Superkings' musical palette is broad, their songs painted by the seductive interplay of the piano, guitar and cello. But the main elements that emerge are Nick Cave, Paul Simon and Bowie. All three could not be applied to many contemporary acts and it is this that makes the Superkings sound so unusual. It is by no means original, but that isn't really the point. What is important is that the welding of these elements, passed through the hands of the songsmiths responsible for producing this EP, has produced a number of truly first-order songs.

The EP opens with the brief, rollicking "Requesting Balance," which relentlessly pulls along the lead singer's deep baritone vocals. Following up is the devilishly beguilingly, languid melody of "On The Broads," one of the EP's highlights. The mood softens and darkens on "Little Hope," a beautifully understated piano-heavy ballad with lovely male/female harmonies and a wholly complimentary string arrangement - another standout. "Phantom Limb" continues the downbeat, bitter piano theme before making way for the brief, but hopelessly catchy "Nathan Rosen". "Hey Boy" is the obvious Paul Simon moment here, but is still a class track, an above-average homage rather than a sloppy pastiche. Another first class gem, one worthy of the CD price alone, is "Hit the Ground Running". This is as good track as you're likely to hear all year. Seriously, it's an absolute mini-epic, full of strong lyrical imagery and an amazing piano phrase that displays an undoubted class act with an expert grasp of mood creation through sympathetic and careful song-arrangement. "Anna Stanaway's Flugelhorn" completes the EP, a playful, rumbustious, court-jester of a track about a century-hopping flugeler that displays another facet to the band's output.

The tracks here work on various levels, which bodes well for future success. They can be appreciated as a collective whole, as well as enjoyed individually. They will appeal to both the music lover and the casual listener alike. Superkings' debut album is apparently due out at the beginning of next year on the new UK label Feedback Records. If this demo EP is anything to go by, it should be well worth hunting down. Definitely a band to watch.