It’s almost unfair to discuss Siberian Breaks in a track-by-track review because it feels like more than one track. In 12 minutes, it carries out the promises made by Flash Delirium and changes shape constantly and without warning.

Andrew Vanwyngarden has said Siberian Breaks is about eight different songs strung together - and listening to it again, eight might be underestimating things.

The song begins in the same folkadelic territory as Song For Dan Treacy but steadfastly refuses to stay put. Over its full course, Siberian Breaks grows to accommodate distorting synthesizers, stadium-sized drums and a change of time signature.

It passes through a shimmering synthtopia to a powerful glam chorus (of sorts) and finally runs out of steam in an ambient delirium of bleeping synths.

The sections sometimes blend seamlessly together and sometimes jar uncomfortably but you have to admire the ambition of this rag-tag monolith.