One thing's for certain: if you give your album a moniker as potential-filled and aggressive as sleepmakeswaves have, you'd better have the necessary destructive force to back it up. ...and so we destroyed everything has finally been granted a worldwide release after a protracted delay, and the band are no longer something that fans in their native Australia get to keep to themselves.

In advance of the album, they've already been seen playing with The Physics House Band and 65daysofstatic on these shores; that's certainly an impressive manner in which to introduce yourself to a whole new audience, but while some bands of this ilk put on a live show whose spirit cannot be properly harnessed and used as the blueprint for the creation of an album, the Sydney quartet have risen to the challenge and delivered a record that's more ferocious and passionate in its execution than most other post-rock albums released this year.

Several of the album's eight tracks are presented in what could be more accurately described as a movement-based song structure. 'To You They Are Birds, To Me They Are Voices in the Forest' opens things on an atmospheric, ambient note, but it takes all of 30 seconds for screeching tremolo guitars to come crashing in, creating a sense of momentum that drives the track as it moves from section to section, Jonathan Khor's guitar an almost omnipresent force that navigates the song's peaks and valleys expertly, imbuing it with a sense of melody that makes an 8-minute track with an atypical song structure sound like the most accessible thing in the world.

Even the shorter tracks accomplish a lot; 'Our Time is Short but Your Watch is Slow' allows an evocative piano line to take centre stage, fleshed out by glitchy electronic rhythms and droning keyboards. '(Hello) Cloud Mountain', meanwhile, is a concentrated burst of energy that would work well as a single - if a band whose closing track on their first album is a gargantuan 12-and-a-half minutes cared about that sort of thing, that is.

Every member of the band is nothing less than completely focused throughout, and hit their targets with such precision that it's sometimes hard not to be awed. 'A Gaze Blank and Pitiless as the Sun' makes this impossible - it's a jaw-dropping track that deserves to be heralded as one of the most powerful and moving post-rock tracks of the last five years, if not the last decade. The band pack its 11-minute running time with dazzling musical twists and turns; its lighter moments and heavier sections are afforded equal weight as it sweeps along, rising to the album's highest peak before gradually falling away as calming keyboards combine with a well-placed trumpet for the track's coda. It's a majestic piece of music that outshines even the explosive title track, and acts as the centrepiece of an album that's best experienced in its entirety. It's well worth putting aside the 52 minutes required to ingest the whole thing, because music as involving as this demands one's full attention.