Inspired by the characters she finds in the depths of contemporary literature as well as by the classics of film noir, Amelia Coburn’s song material is not bound by any mood or interpretation of modernity. Carried by a timbre that is as clear as it is gentle, the British singer’s songs oscillate between light and shadow, between the cool winds of an October day and shimmering reflections on the surface of a forest lake. And despite the lush instrumentation of her fantastic debut album, “Between The Moon And The Milkman” (2024), even alongside the usual repertoire of ukulele, mellotron, dulcimer, and various percussion instruments, the arrangements and harmonies still run the gamut from sounding pleasantly restrained to significantly dramatic. First and foremost, however, it is well-thought-out and very British songwriter folk that she presents. It’s a sound that cares little about supposedly modern stylistic devices. Instead, Amelia Coburn views her art as the setting to music of streams of thought that open up inner landscapes for the audience and reveal new paths, new clearings, new valleys with every listen. Simply timeless.