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You'd be forgiven for expecting a band flying under the banner of Adebisi Shank to sound a whole helluva lot... different. Ruthless, unforgiving thrash-metal? Perhaps the kind of drum'n'bass that melts the pink walnut between your ears, leaving it to drip-drip-drip from your nose like a strawberry milkshake? Maybe brutal, anarchic beatdown-hardcore noise? Given that Simon Adebisi, the Irish trio's namesake, is one of the cruellest, most cold-hearted villains that HBO has ever seen, and that's saying something - have you seen Game Of Thrones? - you'd probably expect Adebisi Shank to be whole lot more violent.

In reality, they couldn't be further away from that. They have the propensity for high volumes, but it's not loudness born from boiling-blood fury, it's the loudness that stems from give a toddler a menagerie of pots and pans, then telling them to just go bonkers. Like post-math outfit Fang Island, Adebisi Shank are thrilling, guitar-meets-electronics post-rock/indie-math chaos.

Following the tradition of their previous records, their third, and first since 2010, is entitled This Is The Third Album Of A Band Called Adebisi Shank. It's the first on new label Sargent House, however. Don't expect that to shake things up too much - they're still the main suppliers of crazy glitch-rock. Their third LP sees the threesome flit wildly between Anamanaguchi-esque E-number hyperactivity and verge on the relative dourness of Errors. Essentially, if you've loved their previous output, you'll swoon over this stuff; if you weren't a fan, then give 'em another try. They might win you over yet.

'Mazel Tov' is the weirdest sonic combo you'll probably come across this year. Blending Daft Punk robotics, '90s sitcom jazz, Michael Jackson funk, 16-bit chirrups, and stadium rock percussion, it's a heady cacophony that's every bit as contagious as it is gleefully shambolic. 'Sensation' continues the frenetic salvo. Sounding like Wall-E in a lawnmower, backed by Middle Eastern strings, it dodders and jitters and fizzles and frazzles and soars. Utterly ridiculous, but immensely fun. It's not just facetious bubblegum-pap either, there's a depth to be explored in the meticulously layered trifle of noise. Whip out your magnifying glass Sherlocks, there's plenty to be found for any intrepid listeners. Adebisi Shank may ooze flippancy, but their real charm and talent lays in the detail.

'Voodoo Vision' is anime automatons duking it out in neon skies above neo-Tokyo with laser swords and plasma lances. 'Thundertruth' is the sound of Willy Wonka's factory melting into a gooey horror. 'Chaos Emeralds' not only takes its name from Sonic The Hedgehog, but also its pace and fervour. Surreal-ly, Adebisi Shank screw in some Gaelic riffery and rawk licks, making this track a bizarre ceilidhtronica. Ho-hum. As is the will of Ireland's premiere oddniks.

This isn't going to be a record to sit back and switch off to; there's just too much going on. It's a drawback in a way, and there's the opportunity to get well and truly fatigued by the end of the 36 minutes, but in all honesty, that's why we go to Adebisi Shank. We don't turn to them for mournful ballads or soft crooning. We got to them for balls-out, shrieking insanity. We turn to Adebisi Shank when we want to run into walls head first with sofa cushions duct-taped to our noggins, or get far too drunk and attempt Super Mario Bros. speedruns. Forgo Berocca, eschew the apple, sod the coffee - stick Adebisi Shank's newest instalment into your face and feel the immediate rush.

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