I’m going to apologise in advance to those that feel I come off sounding like a DLC Fanboi. I’m sorry. Really sorry. But I can’t help it. I have been, a lot of us have been waiting for this album to come out and to be honest I think I let out a little girly squeal when my pre-order copy arrived in the post last Friday.

While admiring the artwork done by the sensational Cameron Grey, I have a look at the track listing while loading the CD into my Mac. I recognise six tracks of the twelve on there, but only because I’ve been following the band on Project Dead Letter, as well as the three earlier released tracks such as Reaction, Next In Line and The Space on the Wall (which to be honest would be the heavier tracks on the album).

Opening track, Here We Divide is never gentle. A quick build up of that signature DLC guitar sound that Rob has (which has a slight U2ish delay thing happening, but hey, that’s what the DLC Fans love and recognise instantly... well, that and Kim’s distinct vocals), with a mix of the newer synth tones they have been integrating their sound, and BAM! Rocking straight away with highs and lows, big choruses, slight bridge.

One thing I notice though, and a little spoiler for those that still haven’t listened to This is the Warning yet, but don’t go in thinking this is an extension of their EP. It’s much greater and far more reaching than that.

Closing my eyes when listening to this album and one word repeats itself over and over again. Wet. I know this sounds weird, but this is a ‘wet’ album. Every song makes me feel like I’m surrounded by water, whether it be floating serenely during songs like Cage, The Drum, or This Long Hour, or riding the waves created by One Step, Big and the title track, after listening to this album I feel drenched... and then I go back for more.

The trick I’ve noticed with DLC’s music is they embrace space. There’s distance between the instruments, but they all come together, collaborating in a weird sonic dance and it all just makes sense. Forrester Savell’s production is usually pretty distinct, and you can tell that bands like DLC, Karnivool, The Butterfly Effect, Sleep Parade have all had the Forrester ‘touch’, but the direction these four musicians have gone in with This is the Warning resets the bar.

I’m a big Karnivool fan, and love The Butterfly Effect, but the thing that stands out with this album is that it’s accessible by everyone. It’s not too heavy, it’s epic without being pompous, the sound is still distinctly Dead Letter Circus, yet they have experimented a little more (particularly on tracks like Cage and The Design).

Now, there’s something very familiar about the sound of this album, and it wasn’t until I read another review that it clicked. Intentional or not, DLC have put a massive 90s flavour into the production, and I love that. Being a later Gen Xer, the 90s were a pivotal decade in music, and I dare say the same goes for the DLC boys. At times there’s a little sniff of Filter, a touch of The Crow era soundtrack, a hint of Pommy grunge kings Bush. It works.

This is an album that can be listened to piece by piece, rationing the songs if you must, but it’s also a hell of a journey. Listen to the album on the stereo, and then listen to it again through headphones and just listen to the little nuances added into the mix. There’s easter-eggs everywhere.

Kim’s vocals are sublime. Those falsetto tones he gets are pretty damn recognisable as Dead Letter Circus, but there’s a few surprises when he turns the dial down a bit. It’s actually quite refreshing.

Drummer Luke’s back-up vocals sit nicely in the mix and add that extra support to the sound. His drumming is, and always has been, a huge joy to listen to (and watch from the side of the stage), but it must be said that I still think Next In Line is some of his best work yet.

Rob’s delay-rich guitar tones are ever-present, and I don’t think it would be DLC if it weren’t for that sound. I think Rob’s guitar sound is actually nearly wholly responsible for adding that space between the instruments, but as much of a dense sound as it can appear to be, it still lets everything else breath, and not suffocate the other instruments.

Stew’s basslines are driving and sound complex, but at the same time displaying some subtle simplicity. The synth effects added to the bass are a very cool touch too.

Now that I’ve finally made it through a review of what would easily be one of my favourite albums of 2010 (and cunningly sneaking into my all-time favourites list), if you haven’t done so already, go get the damn album.

*Notice I didn’t use the A-word once? You know. The one I use all the damn time, that ends in wesome.

Rooster.