I recently had the chance to see Alright The Captain play at Vibe Bar in London, but bailed on the not-unreasonable grounds that I was horribly full of a cold and it was a week night. Sat here, listening to SNIB, there are no words to describe how disappointed I am for missing that night, and how much I wish I could go back in time and dose myself up on lemsip, red bull, pro-plus; anything that would have tricked my body into thinking I was well enough to make the gig. But this is not the time for mourning what has gone before - this is the time for celebrating what is to come, and if SNIB is anything to go by, the future holds very exciting things indeed for this trio.

It was my intention to listen to (and review) this album on the tube during my daily commute (it's been a busy time for me, of late) but from the moment the opening noise/static/electronic bleeps on 'Rostov Could Get It' resolved into punching guitar stabs, I knew that listening to the album through headphones wasn't going to do it justice. So here I am, closeted in my room, with my speakers turned up as far as they'll go without distorting, trying desperately to listen to this wonder of an album with my reviewer's hat on, when all I really want to do is turn the lights off and dance around my room like a crazy person. This is not going to be an easy task.

The main thing that needs to be said about this album is that it is relentless. Never letting up, even for a second, it takes you on a furious journey, assaulting your ears with dischord and static, distorted guitars and electronics that sound like special effects from a mid-90s computer game, that somehow all come together into something unbearably catchy. You quickly learn not to let your guard down even for one second, as although certain tracks ('Guilt', for example) do contain the odd passage of quieter, tonal, picked guitar motifs, no sooner have your ears started to relax than the assault begins anew.

Being an ex-music student, I wanted to write something incredibly intelligent-sounding about the time signatures in '#33' and 'Pay Off', but although I can tell you that they're irregular, beyond that I found them impossible to follow. My brain was trying to home-in on the down-beat, expecting it to resolve, but I was just left confused. A word to the wise: do not try and listen to the album in this manner.

One of my biggest fears at the start of the album was that there wouldn't be enough variation to keep the listener engaged for a full 10 tracks. I couldn't have been more wrong. 'Rostov Could Get It', for example, leans slightly more towards the melodic, with some wonderful harmonising guitar lines; 'Neo Tokyo' also focusses more on the guitar, but is characterised by Late Of The Pier-esque tempo changes; whereas 'Mega-Mega-Drive' and 'Peanut Worm' are almost ambient in places (although not for long) and 'Guilt' features screamed vocal stabs (it and 'Honey Badger' are the only tracks on the album to contain lyrics, although I couldn't begin to tell you what they are). Never for one second does the album feel repetitive; on the contrary, you're on the edge of your seat the entire time, wondering what they're going to pull out of the bag next.

I know this review has been fairly sparse on specifics, but it's one of those albums that you don't want to ruin for yourself by de-constructing it too much; rather like that book you can't bring yourself to read anymore because you studied it for English GCSE. I will finish by saying that although there are a lot of bands around at the moment making Math-Rock, there aren't many who are doing it like this. Buy the album, fill your house with mates and booze, stick it on the stereo and turn the volume up to full. You'll see what I mean.