Fair play to Moly, whose debut album could be convincingly marketed as “I Can’t Believe It’s Not Mogwai”. All the handy signifiers of epic post-rock are in place: neat sequences of drift and crescendo; hazy threats for song titles; distant chatter beneath the oceanic guitars, etc. Moly, though, are faced with a critical problem. Mogwai’s infinitely superior Happy Songs For Happy People (see p97) is released on the same day, which leaves Your Life Is In Danger looking all too hollow and predictable. Strange that post-rock, a music predicated on ideas of progress and transcendence, should have become so formulaic.