Almost three years ago, Washington DC natives Drop Electric dropped their debut record Finding Color In The Ashes. It was placed squarely within the dramatic bracket of post-rock by many outlets, primarily because of the panoramic atmospherics, experimental guitar-based commotion, and the leviathan noise sprawling and seeping into every minute fissure like limewash. They glued themselves to an electronic-led ambience, and made a valuable contribution to the genre famed for being formulaic, but they still ventured into those idiosyncratic realms dominated by Godspeed, Sigur Rós and Explosions In The Sky.

For LP numero dos, which goes by the name Waking Up To The Fire, the quintet have dialled back the sonic expanses. While they still utilise post-rock's most treasured hallmark, the crescendo-centred structure, this isn't representative of that genre. Or any genre, really. It's a patchwork record, compiled with scraps of electronica, frayed sections of pop, a sliver of rock and parts of shoegaze. There's nu-goth shadows and kwes.-ian samples, it's got soulful veins pumping scarlet trance. It all sounds so achingly familiar yet entirely fresh.

'Higgs Boson', one of the many science-inspired moments on the record, quakes with bass. Astral synth leads and B-Movie UFO hooks tremble amongst the black-hole warped vocals, provoking visions of the antithesis to Crystal Castles. On the title track, it's difficult to decipher lyrics underneath the FX-swaddling, but it all sounds endearingly poppy, like the sort of track than would be sandwiched between M83's 'Midnight City' and something by Bombay Bicycle Club on a night to the discotheque. 'Among Dying Dreams' is more akin to their prior style than much of the record, but with its gospel organ, cyclic 808s and brass section, it still proves that the fivesome aren't going to conform to the post-rock manifesto.

At other junctures, they just lob curveballs. Rave-hop instrumental 'Wack Rapper Meets Defeat' sounds like a grimy Odd Future-cum-Labyrinth backing track. It's angsty and synthy, but proudly displays a masterful beat. 'Starfox', with chiptune clicks and 16-bit whirs, sounds like Lana Del Rey dunked in hydrogen peroxide. It's bleached, faded by emotional scars, all the chintz and gaud washed away. It's a stretched and contorted '50 ballad set to a Nintendo motorik; it falls apart in front of you. The hyperactive, E-number emotion is giddy and crazy-eyed, and you can't help but instantly think 'Tumblr-friendly'. 'Carl Pagan', another pop-culture nod, is a tribal, sweat-lodge delirium, born from acrid smoke and celestial awakenings. It's colossal doom-pop, with pitchshifted vox, hacked'n'rended samples and glimmering keys; the familiar screech of post-rock six-stringer drones in the background, but it's never an overt element.

Drop Electric are bringing a unique congregation of sounds together on Waking Up To The Fire, crafting something, that while not staggeringly earth-splitting and new, does provide something fresh and interesting to behold. You may have heard things in the ballpark of their sound before, but you won't have heard it done quite like this. The record itself poses a similar tone to its predecessor - it's emotional, operatic in portions and feels like the OST to a sci-fi classic. They continue that tonal theme, but via different means. Instead of taking the time to sculpt monolithic paeans, Drop Electric are summoning dance and pop convulsions to the stage, appearing from out of the avant-garde darkness and into the light of day.