The feel of the debut EP by Post War Years is best summed up by the video to the eponymous track 'Glass House'. Created by surreal filmmaker Tobias Stretch, the band's electronic beats and mellifluous vocals are accompanied by a girl being chased around a darkened building by a hoard of truly terrifying clowns, and a robot that looks a lot like a psychedelic dalek. It's at once absurd and brilliant, dark and colourful, haunting and cathartic.

It is this light and shade that characterises the Glass House EP. The synths and repetitive lyrics of 'Brazil' are in sharp contrast to the piano and breathy vocals on closing track 'Mirror'. It might be argued that the two are too jarring, but this is not an EP that says "this is the record we want to make," but more "look what we can do."

Indeed, a lot of people have pricked up their ears and paid attention to what Post War Years can do. The fact that their first EP to be released by a label (Chess Club Records) is produced by James Rutledge, who has previously worked with big names such as MGMT, Grizzly Bear and The Kills, speaks volumes in itself. Clearly, I am not the only one who thinks the future is very promising for these guys.

Glass House shows that Post War Years know about pop, about art- they know how to make a melody stick in your head, how to make you feel. It's a statement of better things to come.