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Ooh, this is a bit more like it. Is post-rock back or something? The new Russian Circles album is flippin' ace and we've been shifting a crapload of those new Mogwai LPs and now this turns up. After a couple of weeks of nothing but gold it's not been such a consistent week for good releases to be honest so maybe my bar is low right now but this sounds great! Remember Remember are a seven-piece ...

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REVIEWS

The Quickening by Remember Remember
1 review. Write a review for us »
9/10 Mike Staff review, 22 September 2011

Ooh, this is a bit more like it. Is post-rock back or something? The new Russian Circles album is flippin' ace and we've been shifting a crapload of those new Mogwai LPs and now this turns up. After a couple of weeks of nothing but gold it's not been such a consistent week for good releases to be honest so maybe my bar is low right now but this sounds great! Remember Remember are a seven-piece from Glasgow who feature the drummer from Divorce (according to Phil) and play psych/kraut-influenced post-rock with a really natural sense of physicality and texture but also a fuggy cosmic edge. In the opening couple of tracks repetitive twinkles on the guitar and xylophone are met with insistent bouncing drums while Jaga Jazzist-esque neoclassical type melodies are unselfconsciously smothered over the top. Imagine the tone palette of Motorpsycho's confidently arranged early '00s pop records being deconstructed by Tortoise. I can't think of a band who've taken this style of krautish repetition and married it with the often limited formula of post-rock this well previously. There's even elements of that amazing new Cave album here in the way the grooves are allowed to take their time but instead of the scorching psych guitar crunch that Cave provide we've got sweeping cinematic neoclassical touches. This music would be amazing on soundtracks - 'Scottish Widows' sounds like it's lifted straight out of a Craig Armstrong score to some bleak yet hopeful scene at the end of some arty film where the possibility of redemption is more important than redemption itself. It'd probably be set in Scotland an' all. Really emotional stuff, actually, and a little bit incongruous on an album which is otherwise a bit more cerebral and upbeat. Once it finishes we're straight into the bass, drums and violin stomp of Hey Zeus, though, coming out like a more densely arranged Dirty Three, especially when some dusty echoed guitar joins the fray. While they never really stray away from the formula they add so much of their own to it and this record's got creativity and imagination in spades and builds up some really heady and involving atmospheres. These guys could be my favourite thing to happen to post-rock since Neil On Impression.




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