"Haunting" is a word too often used in reviews, especially where singer-songwriters are concerned. In the case of Shona Foster, however, it's a word that barely begins to describe her delicately unnerving music. Like Portishead ditching the drum machines or Kate Bush holidaying in the Balkans, there is more than a flutter of gothic romance: the architectural tangents taken by piano, violins, oboe and of course Shona's despairing vocal, are enough to silence the noisiest of rooms.