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Celluloid are one of those few bands who seem to have discovered that hallowed ground where accessible and experimental music co-exist.

Eminently listenable, killer hooks and post-rock overtones are embedded into unsettling electronica soundscapes, and at the heart of it all are deeply personal human songs, full of pain and wonder.

Essentially a writing/production team, Ezer Jenkins and Matthew Devenish, meet and share ideas through the common denominator of channelled anarchy.

Both have kicked against, but have been informed by, their respective backgrounds, which generates a kind of intellectual delinquency in their music.

With this ethos in mind, it comes as no surprise that one of their spin-off projects involved collaborating with one of the last surviving poets of the beat movement, Dick McBride.

Live performance sees the addition of guitarist Mark Westwood to form the nucleus of the Celluloid sound, which expands to include other musicians to suit the musical environment.

This philosophy has extended to the recording studio, with the same nucleus being augmented by the esoterics of such artists as Anna Palm and Andy Garbi.

Forged from 10 years of research and development - Celluloid is not a collaboration, but a collision of visions – but one that has been slowed down before impact.

That, in essence, is the Celluloid sound - you know you're about to be torn apart but you can't help thinking how beautiful those shards of glass are before they strike.

A post-punk experience of passionate and emotive songs combined with spare unsettling soundscapes.

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