The most obvious thing to note about Nedry is the vocal delivery. The trio is comprised of the guitars, laptops, synths and drum machines of Matt Parker and Chris Amblin, with Ayu Okakita's vocal cut adrift from their swirling and choppy arrangements. Aurally removed, it feels, Okakita flourishes with fluctuations and moans. The first track is called ‘I Would Rather Explode’ and you wonder if she isn’t doing so while restraining at the same time. A little way in to a slow opening for the album Okakita suddenly rises in pitch and let's something go – and that's where In a Dim Light really begins.

Okakita has been compared to Bjork. While there are similarities that does Nedry an injustice because the combination of instrumentation and vocal is often exquisite, and generally visceral. Building on the more glitch-heavy first LP Condors, it is with In a Dim Light that the musical pairing of Amblin and Parker really excels. More integrated and darker, the arrangement bubbles with sounds and both creates a bed for Okakita and blows about her. To pick out the vocalist, for that reason, is unfair: this is a full-band effort, and a very good one. You can listen to In a Dim Light in the grey-dull of Winter or the crisp sun of spring and it seems to fit the mood effortlessly; it envelopes what’s around it and alters the environment to its mood.

To be able to do that is a powerful skill and Nedry should be proud of it. The production of the LP, which is so clean and so pure that it doesn’t feel like it has a tangible environment of its own, sustains that envelopment; it’s a dark room in which is filled the music and whatever is happening around the music each time In a Dim Light is played.

You’d hazard the hunch that this is deliberately done. Album title aside Nedry seem to be pushing a ‘light’ theme. On lead single ‘Violaceae’ Okakita whispery-chants “Let the dark come”, tracks four and five are named ‘Havana nights’ and ‘From Dusk Til Dawn’; and later, with 'Float', alongside gorgeous piano: "You and I under the stars."

That lyrical cohesion polishes what is beautiful music. And the louder you play In a Dim Light, the better it is. It needs good quality equipment. It's great without it, but it improves exponentially with it. Second track 'Post Six', for example, is thick with sound, its piercing, banging drum (as with the wall of distorted chords that dominates 'TMA' ) being made better the more you can get volume and bass without distortion; its ending spins out of control, is frenetic – almost too frenetic for bad headphones or speakers,

But good equipment only makes this great album better, and this really is a great album.