In the current digitised climate where the music of the iGeneration is created through GarageBand and uploaded to myspace quicker than it takes to microwave popcorn, it's refreshing to see a band that nurtures not only the aural product, but the visual and tactile aspects of presentation also.

Named after Australia's first animated neon sign, Skipping Girl Vinegar are a Melbourne-based four-piece that slip neatly into the alt.folk/alt.pop sub-genre, and who, after four years of traveling and recording, quietly released their debut album last year.

The packaging of Sift the Noise cannot be passed by. Housed in a small, calico library-bag complete with draw-string, the actual CD packaging is designed like an old library book - hence the carry bag. A plain, darkened red cover has the album title and tracklist embossed, while a call number on the spine gives it added authenticity. Open the double gatefold and on the left you have a library date card, stamps indicating the when the item was borrowed. The middle cases the vinyl looking CD, and the right-hand side has the 'table of contents'.

The first of two booklets is gridded, designed like an old, well-used notebook: a curioso you might only find now at a charity book fair for a dollar or two. Lyrics have been added in typewriter font complete with pencil notes and scribblings and more date stamps,which I assume is an indication of when the tune was written and/or recorded. The second booklet gives more detailed information, such as the journey of the band and the album (from Melbourne to Nashville), the usual credits, photographs of the band members in the studio and live settings, and random shots of telephones and letterboxes.

Designed by the vocalist/guitarist Mark Lang, this exquisite attention to detail in the packaging reflects the band's sound, and gives the listener a fair indication of what to expect once the CD goes into their player of choice. I should add, that if your player of choice is a computer, then the visual aspect is extended as you are treated to an animated video for the title-track and first-single, itself a work of visual stimulation using old techniques.

The only risk an artist runs when putting so much into the physical presentation is that the music will fail to live up to expectations. And to be honest I prepared myself for such an event as listed to Sift the Noise for the first time. Thankfully, I wasn't disappointed.

Pre-dating the Mumford & Sons debut by 12 months, Sift the Noise opens with a rollicking, banjo-driven number that is ably supported by handclaps and harmonies. After such an uproarious beginning, the title-track brings it all back to earth with it's folky, sing-along style, recalling the the folk-pop sensibilities of fellow countrymen Old Man River, Augie March and The Gin Club.

'Fighting with Gravity' is more indie-pop than folk, with Lang employing a slight Thom Yorke-style vocal in the opening moments. The chorus contains the infectious hook, before a Beatle-esque coda takes it to unexpected heights.

'Sinking' as another tune that'll appeal to the Augie March/Mumford & Sons fans, with it's foot-stomping beat and Hammond-sounding keys. Again the infectious sing-along chorus invites the listener to travel the journey with the artists, and again the hand-clapping adds a down-home feel.

Running at just over half-an-hour the visit seems over before it began. However, this ensures the quartet don't overstay their welcome, and promises of repeat listens are embraced.

Raise a glass.