Brighton may seem like a strange place for an indie-math trio to be peddling their wares, but that's exactly what The Physics House Band are doing. Riding the coattails of Everything Everything, Tall Ships and Gallops et al, they're part of a widening math movement and are about to release their debut EP Horizons/Rapture. Foals and Everything Everything have this year proved that squiggly guitars and frenetic time signatures can be radio-friendly stuff, with both bands encroaching upon the upper echelons of chartdom. It's a blooming movement with ties to post-rock, and both scenes often converse - the genres are both riveting escalations of your basic rock'n'roll, injected with high drama and technical wizardry.

The Physics House Band belong to a collective called Pink Mist, who gave us Rolo Tomassi, Dananananaykroyd (R.I.P.), Gallows and the aforementioned Gallops and Tall Ships. The collective is an amalgamation of some indie labels who put on events and generally assume the role of bringing forth the wildest and loudest bands they can find. Good to know that they've taken progressive artisans The Physics House Band under their wings too, then. The threesome brandish space-tinged rock directed at both those with a penchant for pondering and those with no comprehension of musical theory - though they craft incredibly intellectual sounds, their live onslaught is so vivacious that any dullard will be ensnared in their sonic thrall.

Their first record is a barrage of tentacle-like noises, worming their way through the speakers and flailing around in the ether. You're often faced with gigantic splodges of organised chaos. The pandemonium is built on foundations of exploding percussion and funk-metal bass slaps – rhythms bends as if constructed by The Mars Volta. Like The Fall Of Troy, the bass is used as a proper instrument to make polyphonic tunes instead of just finding the root or following simple chords. Often it overshadows the Cthulu-esque guitar, a monumental feat in itself, as on 'Abraxical Solapse' where axes noodle but bass struts. On 'Titan', beneath a canvas of jazz-infused guitar, is a slow melodic heart. It's not by any stretch of the imagination a ballad, but it's probably about as close as you're going to come here. 'Hollow Mountain' is indeed calm(er), but it's also not a ballad – it's a post-rock soundscape, akin to I Like Trains, with cyclic synthetic clarinets and a leaden pace.

They're nigh-flawless musicians – both on plastic and live – and the gamut of their music is astounding, weaving brain-melting smartassery with proper rock heft. But the one besmirchment upon Horizon/Raptures' otherwise gleaming face is the main problem with math-rock as a whole – it's so freakishly busy, that listening to it all in one sitting is often a headache-inducing experience, there's no 'white space' to cleanse your palate, and among the noisy thickets, there's nowhere to catch your breath. Even the more minimal moments arrive bearing obese textures. That said, it feels unfair to penalise The Physics House Band on those grounds. As we see the young band grow, that kink is likely to be ironed out – this is a bombastic first effort, fulfilling its purpose as an attention grabbing burst of sound.