Self-described as "a band that appreciates the peaks and troughs of post-rock as much as the crunch of the riff," IAN's striking debut delivers five dirges that merge earth swallowing riffs with the atmospheres and dynamics of their post-rock heroes. Thoughtfully captured by Wayne Adams at his London based Bear Bites Horse studio, IAN craft slowly mounting riffs, with anguished screams, woven with elegant cello playing, field recordings and earthy timbres. "Come On Everybody, Let's Do Nothing!," and the band IAN as a whole, is the culmination of 25 years of musical comradeship and the need to find inspiration in films, noise, and the drudgery of British life.

The album has five songs, and "Manuel" is first. The riffs are distorted, crunchy, and massive, and they go low and deep. The vocals are screamed, and each drum strike is like a punch to the head. The flow of sludge then slows a bit and nearly disappears. Out come the strings…and the somber tones a striking and odd combination of sounds that somehow just works. Of course, the heavy sludge returns once more. "Building Pyramids" has a slow build, as a storm approaches on the horizon. The tension is so thick you could cut it with a knife. You get that monumental sense of the title of the song in the music, and it is absolutely towering. It stomps to completion.

"Fennel" is another heavily weighted song with vocal screams. The fuzz in the guitars is like a fast growing fungus to me. Rounding the halfway mark, the pace slows, and it's almost like the freeze at absolute zero. "Selma" begins with somber cello notes and the gentle sway of a breeze. It slowly increases in both sonority and tension until it finally reveals itself as a monster. Crushing riffs, pounding drums, and thick bass notes take over. There are snippets of melody, and they are somber sounding. "Not Erotic/Cop Film" is the final offering. The bottom end is raw but the cello notes keep it from going over the edge entirely. It seems to be taking a circuitous route from there, with some mellow tones, and some harsher ones. The crawl to the end hints at nothing being left behind.

Post Rock sports one of the widest boundaries in music, and this fits into place. The screamed vocals are usually associated with Post Hardcore music, but there is more experimentation here then what you get out of the later. The most telling part about the depth of their sound is that sometimes the music is hard to make sense out of, and each listener could have an entirely different experience.