The recipe for success, especially in debut album terms, is usually marked by years of hard grind apprenticeship of musicians new to the industry, or from a combination of the talents of established artists. The latter is the case with the eponymously-titled ‘Whitehorse’, which happens to be a remote northern outpost in the Canada from which this duo emerges.

Yet, it is a fresh project that draws together the innate guitar playing and song-writing skills of Luke Doucet and the deliciously ethereal and country-tinged tonsils of Melissa McClelland. Both are accredited and much lauded performers individually, Luke already laying claim to several top music awards and enjoying the patronage of BBC Radio Two’s ‘Whispering’ Bob Harris, whose ardent support has led to several studio sessions in recent years.

While personal relationships can spill into the street from such collaborations, this duo is enjoying a life together both on and off-stage. What this brings to the listener’s ear is not entirely explained but, when the sound is as mellifluous as theirs is, it is truly a case of who cares…rock on! The result is an exciting fusion of folk, country and inventive rock, the duo supported in their efforts by Barry Mirochnick on drums, bass and backing vocals, while Pat Steward lends his skins to a couple of tracks, with Doug Elliott playing bass on the same two, ‘Broken’ and the Springsteen standard, ‘I’m On Fire’.

Canada has produced some stellar performers over the years, not the least being Neil Young and Joni Mitchell, although Rufus Wainwright, Ron Sexsmith, Avril Lavigne and Alanis Morrisette also fall into that category of inventive singer-songwriters, more than competent at forging their own solid places in the international music scene.

The eight track album is topped and tailed by a musically accompanied but spoken ‘Eulogy For Whiskers’ (Parts One and Two), whether or not is a simplistic tale about a pussy-cat is uncertain. However, the very rocky ‘Killing Time Is Murder’ could have come from the Neil Young stable, with its near-grungey guitar riff and punkish vocals.

The third track, ‘Emerald Isle’ is a soothing love song, notable for the gorgeous melding together of the duo’s voices and the swirling, swaying, folksy chorus work. Ms McClelland’s harmonies are effortless and memorable, providing a perfect foil to the baritone backbone of her partner. ‘Passenger 24’ takes us on a country-rock trail, while ‘Broken’ follows suit with a rousing guitar riff that would stand proud in the Grand Ole Opry. Penultimate listing, ‘Night Owls’ slows the train down again, with a luscious, velvety love song. Finally, the Great Lord Springsteen would just love the treatment given by Whitehorse to his well-known ‘I’m On Fire’ oeuvre.

This is a truly exquisite album that could have done with another three or four tracks to further explore the greatness that it illuminates. I cannot wait for their next joint effort, which I am sure will confirm their high-up standing in the Canadian role-call.