The most striking thing about Flood In The Attic’s album is its diversity in sound. There’s the frantic tribal beats of The Arrival Of The Man, which uses keyboard beats fed through guitar pedals and heavily distorted guitar to deliver a punishing opening to the record. It’s not long however until it dissolves into a dreamy, synth-lead outro that has a tender vocal from Matt declaring his unrequited love for a girl. Or a ship. I’m not actually sure.

The Stowaway Song is an intimate acoustic number that ends with a drunken singalong, Don’t Look Down is a precise intertwining of guitar and piano in one continuous algorithmic riff, while In The Dry Dock is a sample driven noise-fest that features all sorts of clanging percussion and electronic drums. The Siren Song forms the core of the whole album as sprawling mini-epic in itself. Duelling lead guitars, haunting brass and cavernous synthesiser provide the backing for both Luke and Matt’s vocals.

Flood In The Attic have delivered an unashamed, but fiercely inventive, prog-rock album that demonstrates the early potential of the Colerabbey facility.