REMMINGS

Released in 2006, the debut album from Japanese post-rock band Anoice is an aural voyage into ecstasy, euphoria and forbidden peace rarely experienced in 21st Century music. Whereas most new-millenium music focuses on overwrought, dramatic post-9/11 political psycho-babble, Anoice keep their focus on their strong suit: classically inspiried, ambient-infused melodic mayhem. The de-facto superstars of the band, Yuki Murata, Takahiro Kido and Utaka Fujiwara seamlessly create atmosphere after atmosphere of warbling piano, vivacious viola and emotive guitar, erstwhile forbodding the perception that this is esoteric music, only intended for a very small pool of iron-deficient psuedo-intellectuals to appreciate whilst discussing the current international APR trend. From the opening first untitled track, your swept into a 44+ minuet metaphysical oddyssy that would make Chopin blush, Rachmaninov cry and second-hand Mozart Eddie Van Halen wish he were still relevent. Mataku's bass is also commendable, from the opening seconds of Asprin Music, he makes you sense that he far more talented than he lets on, and Yossy's style of restraint-over-flash drums/percussion make you wonder why so many Mogwai-clones emphasize over the top, and often-times ear-deafening pounding of paegan-skins to show their proficiency. The second, third and fifth untitled tracks serve their purpose of setting the atmosphere of the proceeding song perfectly, and are classic tracks in their own right; however, it is Kyoto, Liange and the Three-Days Blow that make you stand and take notice of this shockingly innovative band. One must keep their eyes to Anoice's second state-side release as I'm sure it will live up to the very high expectations of Remmings. A must-have for any fan of Post-Rock or anyone interested in beautiful, aloof and sometimes aggressive music.

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