The All Tomorrow's Parties weekend has long been a favourite hangout for fans of all that is weird, wonderful, arty and obscure, and now it's got its own record label as well. It's clear that newest signings Jackie-O Motherfucker aren't going to be the label's first platinum act, but they might just help seal ATP's reputation of doing things a little bit differently.

When they formed in Portland eleven years ago, JOM used to rehearse in the basement of an abandoned drug store, and played gigs to provide a live musical score for shadow puppet theatre. That seems pretty different, doesn't it? Yet on first listen it's easy to think of them as just another quiet-enough-to-hear-a-pin-drop/loud-enough-to-make-your-ears-bleed post rock band. And in places, they are. But oh, they can be so much more as well. Atonal sax, detuned guitars and subtle tape loops add an unsettling undertone to what would otherwise be fairly straightforward Sigur Rós-isms.

But whereas the Icelandic shoegazers make beautiful soundscapes perfect for dozing off to sleep, Flags of the Sacred Haep is such that you'd probably have nightmares if you tried. Consisting primarily of re-interpreted gospel and blues standards, it's an album where creepy found sounds and drones take the place of lush guitars and cellos.

It's also, unfortunately, an album that could do with being half as long as it is. Despite production from Björk cohort Mark Bell, Flags of the Sacred Harp runs out of ideas well before it runs out of time, concentrating too much on atmosphere and not enough on songs. Shadow puppet theatre isn't really about songs though, is it?

More reviews and articles like this on my music blog Bloody Awful Poetry.