Now that we’re ‘officially’ in autumn, we can stop throwing around the adjective ‘summery’ like it’s never been said before. And what better way to signal the change in seasons than with a darkly powerful, cinematic album from multi-instrumentalist Heinali and spoken-word poet Matt Finney?

Like the colder early nights and bare trees we’ll soon be faced with, Ain’t No Night is not an easy creation to get your head around - but that’s why you’ll love it. It’s sparse where it needs to be, with other sounds barely registering over empty static, but if you pay too much attention to one thing, you’ll miss a slow build-up to a blinding crescendo – as is the case with the behemoth opener ‘In All Directions’. It gives way to delicate piano notes, of which we’ll see more in other tracks. If you like your post-rock, but prefer something with lyrics over the brilliance of Explosions In The Sky, you would be wise to pay attention to Heinali and Matt Finney.

There are further industrial notes in ‘Tinderbox’ that perfectly match Matt’s world-weary drawl as he asks, “Do you see yourself as a failure? Drowning in your own pool of shit?” As the sombre beat kicks in, and cowers behind towering guitars, a fantastic soundscape is created. But even this can be beaten by the outstanding title track of the album. Where Alabaman Matt lacks a strong drawl to his accent, the track conjures up an introduction of Southern blues before again descending into chaotic darkness. It’s a definite highlight of the album, with its odd moments of ticking and Matt’s powerful words; then again, there aren’t really any low points in Ain’t No Night, so it’s hard to call anything stand-out. It’s an honest, compelling listen.

Back to those piano notes one last time, as the delicate ‘Hallelujah’ rounds off the album. Where moral decay was the order of the day in both lyrical and sonic content elsewhere in Ain’t No Night, here the timid keys resonate a kind of loss and loneliness. In some ways the song might’ve been better if they hadn’t had guitars at all (they kick in just over half way, as does a spare drum beat) but it’s a brilliant way to end it all, creating a sound that could only suit an end.