With only 2 months left, it would be fair to say that 2008 has been a pretty good year for Peter Broderick. The multi-talented musician released the excellent Float, toured the world extensively on his own and as Efterklang’s violinist, moved to “Scandinavia's most desirable city” Copenhagen, and recorded with the likes of M. Ward and Zooey Deschanel(!). All at the tender age of 21 – sickening isn’t it?

Those familiar with the modern classical work of Float will find Home something of a surprise at first; Broderick has completely changed tack and is now armed with little more than an acoustic guitar and his voice, revealing more of his live show and musical talent in one swoop. This is essentially folk music, but we’re not talking big woolen jumpers and songs about the English countryside, but the modern interpretation of folk music that has sprung up recently from the likes of José González and Sufjan Stevens. If anything, Home showcases more of Broderick’s talents than Float did, as it brings his adept songwriting skills to the fore. With fewer instruments to hide behind, the release emphasizes his incredible craft for creating beautiful melodies.

The multi-layered harmonies of “Games” that open the album resonate like a soothing Gregorian chant, giving way to the hypnotic lull of “And It’s Alright” that shimmers brightly as the melodies soar, and in this instant you’re transported to a place where nothing troubles you. This template remains in place for “Below It”, which is as haunting as it is uplifting, with the closing angelic melodies lifting the song to a whole new level, with new pictures formed in your mind with each listen.

There are moments where the influence of his peers creep in, but never at a detriment to the finished product; “With The Notes in My Ears” echoes a less fragile José González, “Not At Home” shows glimpses of Bon Iver, while “Maps” hints at My Morning Jacket, but all the while Broderick has an unique grip on proceedings.

There are a few tracks without, or virtually without, vocals, and while these are not as fulfilling as the vocal-based tracks, Broderick uses his skills as a composer to make them just as engaging, and perhaps even more ethereal. This is especially the case for the more ambient “Games Again”, as blissful synth drones, delicate guitar strumming and deep choral harmonies act as a perfect curtain closer.

Home is rich with pleasures so subtle that they expose more of themselves with every attentive listen, offering a languid and consoling album that is still powerful in delivery, making it impossible to ignore.