This is the debut album for Ellur, who has released a string of singles and an EP over the last 2 years.

Opening the album is "God Help Me Now", and not even a few seconds in, I was hooked. She has the kind of voice that completely disarms and draws you in. There’s a subtle hint of her Yorkshire roots, which adds a distinctive flavour to an already compelling track. It’s fairly slow paced, but there are brief breaks that allow her voice to soar, and in those moments you get the sense you’re in for quite the ride.

The tempo lifts with "Missing Kid", and while it’s a much wordier track, the lyrics remain clear and insightful. There’s a lot to take in, both in the phrasing and the themes, and on paper it has all the ingredients of a strong song. Yet for some reason, it didn’t quite land for me, and I think that may simply come down to not quite connecting with the subject matter.

The same wasn’t the case with "The Wheel", and perhaps that’s because the lyrics are ones I can relate to more, having always been a glass-half-full kind of person. I used to tell my kids when I dropped them off at school, "The day is as good as you make it". They’d often look back at me with a six-year-old’s contempt, but it really does make a difference. Aside from the lyrics, the music rocks along and it has an infectiously happy air.

There’s something very Fleetwood Mac about "Dream Of Mine". It carries that late-80s atmosphere of Tango in the Night, with a more Christine McVie style of lyrical delivery rather than the more enigmatic approach of Stevie Nicks. There’s a warmth and clarity to it that feels grounded and melodic, which really suits the track. Whether it’s a conscious nod to those influences or something more incidental is hard to say, but either way, it comes together beautifully and gives the song an effortless sense of flow.

The acoustic guitar opening of "Yellow Light" immediately caught my attention. There’s also a subtle drum machine or synth helping to drive things forward, and at first I thought it might open up into something more heavily produced. When the vocals come in, though, I found myself relieved that it leans more toward a stripped-back approach. It does build slightly as the song progresses, but never quite loses that sense of restraint, which I really enjoyed.

And again, "The World Is Not An Oyster" returns to a more acoustic-focused sound, but this time with a far more melancholic tone. Where "The Wheel" leaned glass half full, this feels much closer to glass nearly empty. Reading between the lines, it comes across as something more personal and introspective, with a hint of sadness that lingers. It’s a subtle shift in mood, but an effective one, adding a deeper emotional layer to the album, with the a richer sounds coming in where needed, to add more weight.

“Disintegrate” is another track that doesn’t quite gel for me. I had an odd kind of simile in my head that I couldn’t shake. It feels like being on a motorway late at night, where you can’t see the destination, just mile after mile of road stretching ahead. There’s a certain atmosphere to it, but it never quite connects in a meaningful way. That said, you can tell a lot of care has gone into it, and it’s by no means a bad song, just one that doesn’t fully land for me.

I think, in my head, I maybe just want Ella’s vocals and an acoustic guitar, and I’d be perfectly happy. When "Lonelier In Heaven" started, I couldn’t help but smile. It leans into that simplicity straight away, and it really works. There is more backing introduced intermittently in the song, but it adds a little weight without ever shifting the direction of the track. It feels carefully judged, letting the core of the song continue to shine through.

OK, I wanted something stripped-back, and my prayers were answered with "At Home In My Mind". It opens with minimal piano, and aside from simple vocal backing, it’s all Ella’s voice, dark, rich, and deeply emotive. As the song unfolds, her vocals lift, reaching higher climbs, while the piano keeps everything grounded and simple. In true epic-banger fashion, the latter third expands into something much fuller, before returning to the stripped-back vocals that I can’t seem to get enough of.

The album closes with "Knowing", and it feels like a final gift. This one is acoustic throughout, with smoky, intimate vocals that, with headphones on, made the hairs on the back of my neck stand up. Unlike some of the slower tracks earlier in the album, it stays true to its core, with only the addition of strings and subtle backing vocals, which enhance the mood without ever distracting from the central performance. It’s a quietly powerful and wonderful way to end the journey.

Sometimes I feel like a kid at a pick-n-mix, focusing on what I love. Other times, though, you have to try something new and open your mind. My favourites here tend to be the more acoustic leaning tracks, but I know this review might come across as somewhat unfair, as it’s really just my initial impression. Often, I’ve encountered albums where only a few tracks leap out at first, but over time, I’ve come to appreciate the work as a whole. I have no doubt the same will happen with At Home In My Mind.