Labels such as "post-rock" can seem a little ambiguous, even troublesome in themselves, but when reconciled with the artists who profess to be purveyors of such product, the title may present itself as a little less dubious.

Although the style draws influences from rock, it has a tendency to steer away from the traditional approaches such as riffs and four on the floor beats, and at times walks the line between psychedelic and classical. Scotland’s Mogwai and Iceland’s Sigur Ros have been touted as leaders in this field, and with their ethereal charm, Melbourne’s Laura are a welcome, but by no means recent addition to this household.

Their latest release, Twelve Hundred Times, has at times an antiquity, and seems to re-enact glorious mythical battle scenes fought in surreal dreamlike arenas. Despite this seemingly sombre mood, the body finds itself involuntarily, though not unwillingly swaying rhythmically to the soundscapes. Ambient djs take note; although this might not be your typical dance floor fodder, some of the movements would perfectly suit a Café Del Mar session.

The permanent addition of the cello adds textures that are unusual, but inviting. In “Fugue State”, the cello drones, emulating a didgeridoo, drawing you deeper into the dream sequence. Warning, the presence of bottom end in this, as well as “The Slow”, at times achieves some rather impressive body rumbling brown notes; a cathartic experience (especially if you have a powerful sub).

Often, tracks are left unresolved, like “Safe Confinement”; a disembodied piece that leaves the listener disoriented due to its deliberate lack of resolution. “New Safe Confinement” then ends the release, gently waking you into reality.

For a beginner’s introduction, check out the single “Mark The Day” and “This Grey Earth”. The video for the latter, with its impressive interpretive dancing can be found below.

Review Score: 8.2 out of 10