There is something tantalisingly eccentric and quirky about this duo. Common Knowledge almost irritated on the first listen, but at the same time I was drawn back to try to unravel the sound and work out what it was all about. Tom Drinkwater's voice is certainly an acquired taste. He's originally from New Zealand, but has spent time in the USA and England -- over the years, he has spent a lot of time singing Scottish and Irish songs. His voice draws on all these influences, meaning that in fragments it is familiar, but as a whole it is unique. It's not just the sound of his voice that's distinctive either; it's the syllables that he accentuates -- mostly, not the ones that you would expect. Drinkwater contributes solid guitar and bouzouki accompaniment and the duo is rounded off with Helen Bell's exquisite violin and viola. This is the interesting juxtaposition that Pillowfish offer -- Tom Drinkwater's ragged vocals set against Helen Bell's elegant and fluid string work. It's a paradox that produces an interesting result!

Common Knowledge includes a couple of original instrumental compositions, showcasing the duo's considerable musical virtuosity, without the distraction of that voice! "The First Bonfire / Pilowfish" is a sprightly number featuring rhythmic interplay between Drinkwater's bouzouki and Bell's violin, whilst "Hunting the Off-Licence / Trip to Heligoland" is a more elegant and stately-sounding offering.

Drinkwater's traditional leanings are well-mined in "The World To Mend," an driving, energetic piece with some ferocious bouzouki and a stunning violin interlude from Bell. This is followed by the tender ballad "Cruel Sea". Both of these tracks show the potential that can be realised by this talented duo, effortlessly blending the traditional with the contemporary and yielding pleasing results.

"Addiction" has a deliciously dark and foreboding undercurrent, obliquely considering the gamut of addictions from coffee to much stronger substances; "addiction, affliction, sometimes it's even legal." Drinkwater then takes a well-aimed shot at globalisation in "Move Your Money," pointing out how we can freely move our money round the world but don't necessarily get the same welcome when we turn up in person; "if your passport fits the reader, you can visit for a breather, only if you don't stay to long, don't get a job or sing a song." Both of these tracks are lyrically incisive but there is a brashness about them that I didn't enjoy as much as the traditionally influenced material.

Pillowfish won't be to the liking of everybody -- well, maybe not immediately -- but persevere and dig a little deeper, and there are elements that will reward the patient listener!