They may not have invented post-rock, but 65daysofstatic certainly helped shape it - especially for a British audience - by striking forth with pioneering soundscapes, melding chewed'n'screwed sampletronica with immense rock riffs, and cracking that champagne bottle against the hull of their wondrous sonic alloy. In the decade that's passed since their debut LP, the seminal The Fall Of Math, was unleashed upon the unsuspected planet, they've buffed, spit-shined and honed their chosen style, becoming leaders of their field and amassing cohorts of cultish followers across the globe. Their quality's nary slipped neither, and from their intrepid first outing to the recent Wild Light metamorphosis, they've proven that their living legends.

Now, the Monotreme mainstays are re-releasing that premiere full-length for its tenth birthday. The new CD/DL version comes complete with coupons for the tracks and B-sides from the Hole EP and single release of 'Retreat! Retreat!', but the crowd-puller here is the 180gm black vinyl limited edition (1000 copies, pretty much all gone already).

The Sheffield outfit had a a few reflective words about their magnum opus as well, shedding some contextual light upon the world they crafted:

"In the first year of the weird post 9/11 future we all now occupy, 65daysofstatic wrote a record entirely by mistake in an obscure room in the North of England, usually in the evening after finishing whatever day jobs we were holding down."

"In the weird spring of 2003 we watched in horror as the US invaded Iraq, aided by our own morally destitute government and seemingly for completely fabricated reasons. A month later, we went into the studio to record the music that would become The Fall of Math aided by the kindness of Monotreme Records, the label that helped to build 65dos from the ground up into a viable commodity fit for digestion in the public sphere. We pulled a huge round the clock session, aided by the wisdom and skill of the infamous Alan Smyth, a man whose expertise and advice we seek to this day. While not exactly a global smash, The Fall of Math was met with some excitement by a number of people we had never dreamed of, and threw us into a world of very hard touring and recording for the foreseeable future. In short, it changed our lives, as did the aftermath of the events we were quasi-soundtracking by living through."

A decade on, it's as pertinent as ever. In terms on politics and society, can we really say much has changed for the better? We could ramble on at length at how clusterfuck-y Earth's become since 2004, not least in terms of war, as 65daysofstatic railed against all those years ago. But we won't ramble, as there's not the column inches here, and no-one's got the patience for that, here, now. What we can say though, with some degree of certainty, is that 65daysofstatic's The Fall Of Math remains an incisive, acerbic, Herculean portrayal of humanity's most astounding fuck-ups, and their immediate aftermath. It's a record crammed with representations of conflict, of polar-opposed dimwits yelling burgundy until bulgy vessels pop in their temples, of destruction, of catastrophe, and ultimately, the enduring hope of rebirth. Despite having zero (real) lyrics, The Fall Of Math is a record that says a helluva lot.

It is, plainly, an anthology of violent sounds, conveying - on some level - violence itself. But there are faint glimmers, fading beacons of light that ignite fiery resolve. It may well explore desolation and doom, but The Fall Of Math is also resounding, quietly triumphant 'we shall not be moved' music with a steadfast heart. It's an aural representation of being battering and bludgeoned, psychologically and physically, your eyes so bruised everything's a shade of purple, and then, after the torturous ordeal, standing up, wiping away blood-syrup and demanding an answer to "is that all you got?"

In all honesty, that could be bullshit. But, therein lies 65daysofstatic's innate magic - their music is fully-realised expanses where your mind and imagination are free to bound like free-range lambs. It's a catalyst for adrenaline-racing thoughts, be they galvanising or purely fantastical. So perhaps the above interpretation isn't 'right', but it's surely a testament to the music's power that it can make you feel or believe something that strongly, or that in-depth? The aim of all music is to make us feel something (let's just say that's the case for the sake of argument here), and if an album can stir all these feelings, emotions and realisations via instrumental noise alone, then can we agree, objectively that this is a phenomenal record? This is no longer opinion running rampant - this is pure fact.

There's no sense listing the tip-top qualities of each notch on the record - surely if you're reading this, you've at least heard them once before, and probably dozens of dozens of times. What we shall hammer home however, is how groundbreaking the experiments were/continue to be. It's not like post-rock hadn't incorporated this kind of sound for cinematic effect, and troupes like Godspeed, Do Make Say Think, Mogwai, Sigur Rós, Slint, Explosions In The Sky have all been grinding the formula home for since the bronze age. However, 65daysofstatic are perhaps one of the first, or at least most prominent, to use electronica and sampling to such an extent. It's their signature, unshakeable quality, still in use - in fact, more in use - today. They wreak havoc with stuttering percussion, glitching throughout the rapture's continuum. They churn synths and keys that fuse with math axes. The spoken-word snippets are the cherry on top however, providing that indefinable quality to tracks such as 'Another Code Against The Gone', 'Retreat! Retreat!' and 'Fix The Sky A Little'. The voices sound almost archaic, like fossilised snippets of the airwaves, captured in the future, a glint of how life used to be. They conjure a surreal cyberpunk post-apocalypse - how many other post-rock acts can claim they invented a world as lifelike, traumatic and vivid?

The Fall Of Math remains an unequivocally stunning album. We could warble and waffle at length - indeed, we kinda have - but it comes down to one vital factor in the end. Of course, the highlight of the record is obvious: it's the bit between the dawning static on 'Another Code Against The Gone' and the final beat of 'Aren't We All Running?'.