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Opening with a crash of cymbals, which explodes into a twinkling of keys like rapidly falling stars, or distorted lights reflected in the ripples of water after a disturbance, 'Blabbermouth' is a flurry of activity an opener to make you sit up and take notice. For over three and a half minutes Remember Remember maintain this delicate image before deep synthesiser pulses interrupt the order that had established itself with melodic guitars and percussion soon joining the mix. We are suddenly aware of the band, a human element has entered the world that was created from the initial cataclysm and whilst they strive to capture the beauty present in those opening moments, there is no escaping that we're fully aware these sounds are man made.

Released on Mogwai's Rock Action Records label, you could be forgiven for assuming that Forgetting The Present, Remember Remember's third full-length would be a similar brand of post-rock. Whilst the band do deal in instrumental rock, and their releases would be a worthy addition to the collection of anyone with a fondness for Mogwai, Explosions in the Sky, or any other post-rock act you could name, this Glaswegian group operate in a far more melodic and musically diverse space. Often eschewing the heavy guitars that seem to characterise much of the genre, Forgetting The Present is at once a delicate, beautiful yet devastating work.

'Blabbermouth' segues into 'La Mayo' a gentle piece that blends woodwinds, arpeggiated synthesisers and a xylophone over an interesting bass line and percussion hat holds the song together, rather than drive it on. At times you don't even notice it's there - only when it briefly disappears during the song's breakdown mid-way through the track do you notice its presence. That's a common technique that Remember Remember use throughout the record, using absence to make you more acutely aware of the elements that embody each track. The second half of the track builds to a crescendo of falling synthesiser patterns, less natural than before, more like mechanical workings, and swells of static conjuring a more industrial sound, without being too hard-edged.

As with all instrumental rock, Forgetting The Present is hugely evocative and powerful. Yet it achieves this without building to a frenzied, noisy climax, but by layering instruments allowing the ear to focus in on the sounds it wants to, imagine whatever the listener feels is appropriate. On 'The Old Ways' for instance, you might be drawn to the mandolin that plays front and centre throughout the track, offering a rather pastoral sound. Or perhaps it is the distant crash of the drums (and what sounds like a gong) sending your mind to images of grand ships crossing dangerous seas. The song is alive in detail and is constantly begging you to dig a little more, hear a little more, find something new.

Then there are the surprises that await listeners, like the summery tropicalia of 'Purple Phase'. The track's infectious rhythms should have no cause to be near an album of this kind, yet they blend in so seamlessly you start to wonder why no-one's done something like this before. Maybe it's because no-one else had the foresight, or the ability possessed by Remember Remember founder Graeme Ronald and his band. It's especially surprising as the album was recorded during Winter at Glasgow's Castle of Doom studios. The places created when we play 'Purple Phase' couldn't have been further from the minds of the players, yet somehow here they are presenting that very evocation.

Somewhat fittingly the closing track 'Frozen Frenzy' includes the sound of sleigh bells and icy synthesisers, that glisten and chime like the keys that open the record. As the longest track on the album ('Magnets' at 9 minutes 27 runs a very close second) it takes its time in revealing itself, slowly introducing stabs of piano, distant percussion and layering on more synthesisers. The effect is like the melting of a glacier, first a single layer of sound, then as the exterior bleeds away more and more is revealed. The basic structure refuses to deviate from this path, and it really doesn't need to. As a closing track it stays with you, burrowing into your head to live there as a memory long after the record ends. Fortunately it's a memory that can be retrieved every time you play the album; the beauty, the grandness of it forever present.

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