Maya Miller and Michael Bernstein met in New York a decade ago, and began making music together as half of sturm und drone quartet Double Leopards a few years after that. Religious Knives came later still, away from the road and the rehearsal space, borne and nurtured in cramped apartments throughout Kings County. Beginning in 2005, the pair released a string of CD-Rs and cassettes, both on their own Heavy Tapes imprint and through the labels of kindred spirits. Steadily moving away from the psychedelic tone baths and modern industrial scrape for which the Leopards had become known, Religious Knives coursed through minimal synth oscillations and spare Kraut repetition.

Mouthus' Nate Nelson joined the pair in 2006, lending a powerful presence behind the drums that shaped Religious Knives' rudimentary jams into rough-hewn, long-form paeans to tar-blackened bummer psych. Soon after that, old friend Todd Cavallo completed the quartet on bass, adding a sturdy low end and dubwise groove that lifted Religious Knives from cellar murk to black cloud puffs of bone deep alarm.

An active four-piece for a little more than a year now, Religious Knives have presided over a pair of twelve-inches, a couple of collections of out of print singles and long gone burns, and one full-length. All throughout, these four have traced a path away from the clamour they once knew, bathing slight guitars, interlocking vocals, and solemn basslines in reedy organs and recalcitrant modular synths. The seemingly tin eared would call it noise, but in these eight hands such a set plays as anything but, instead a (cough) syrupy stroll in search of the ghosts of rock's classicist past.

With The Door, Religious Knives have not only found those bygone days, but broken them apart. There are bookmarks to be found here, pages creased in well-worn chapters. But make no mistake - theirs is a sound tied to the here and now, a summer record for those dread days when the heat holds low and skin sticks to cheap car seats and old patio furniture. These six songs are brighter, sharper than anything that has come before, locking in tight on jugular rhythms. It's the score for disappearing neighborhoods and crumbling buildings, a hope of holding onto the past as those around us move fast to forget it. It is scent as sound, the stench of smog and sickly smoke spiraling towards the sky. It is Brooklyn, July of 2008. The sun has left us in the East, disappearing somewhere behind Jersey, leaving our borough to find the pulse of another night deep with the city's streets.

Keith Wood, along with constant foil Leon Dufficy, is Hush Arbors, and while his self-titled Ecstatic Peace! debut is not his first album by any means - he's been at this almost ten years - it does provide the perfect introductory point to Hush Arbor's distinctive take on psych folk. Combining the pensive songwriting of John Phillips circa Wolfking, the plaintive honesty of Neil Young, and the fishtank-gazing cacophony of Six Organs of Admittance (Wood is a frequent collaborator), Wood writes classic-sounding songs that sound readymade for AM radio, circa 1968.

These songs would play as comfortably over a scene from The Wonder Years as they would piping from a noxious chillout tent at Terrastock. There are songs here that resonate with the minor key melancholy of Bert Jansch or perhaps even Mark Kozelek, while others hint at a Wire subscriber's Siamese Dream, all propulsive rhythms and lysergic electric guitar.

Some albums are 'growers' - not this one. While repeated listens reveal more and more details, as good albums should, this is also an album that commands immediate attention. Try to put it on in a crowded room - just try. You'll have a 'High-Fidelity-Beta-Band' scene on your hands within two minutes.

Hush Arbors at Roadburn Tiburg 2008 (w/Matt Sweeney, Andrew W. K., Alex Neilson)

Hush Arbors Roadburn Tilburg 2008

Hush Arbors in Moscow 2008 (on tour with Current 93)

Hush Arbors @Scala, London (opening for Thurston Moore)