Remora is actually solo Brian John Mitchell posing as a droned-out darkwave apocalyptic brainstun of nasty futures, isolation, doom, and psychological distress resulting in stultified near zombie-ism. There are elements of Peter Hamill (Van der Graaf Generator, solo), Gary Lucas (Capt.Beefheart, solo), Legendary Pink Dots, David E. Williams, Brian Eno's rock pieces reduced to Ramones status, and quite a few other prog and near-prog eccentrics. The atmosphere in Scars Bring Hope is mid-fi, appropriate to the smoking-ruins ambiance of all the drear imagery and downer narratives running through alien invasions, psychotism, weird love, and even C'thulhuvian creepiness. Too, I suspect Mitchell's vocals are more what Huw Lloyd Langton has been trying for and not capturing, kind of a seriously gobsmacked and stunned Bunny & the Echomen in monotone.
Scars is most definitely not for everyone, Bangles aficionados will commit suicide within the first 30 seconds, but old Saqqara Dogs / Bond Berglund fans and Wall of Voodoo followers will find much in the way of an art-ified follow-on. Too, those who dug Spot and some of the edgier strange-pop cats will grin at the constructions here and might even chuckle darkly at the Daniel Johnston-esque Peanut Butter Cup. Don't even think of coming to this CD in a good or even pensive mood unless you like the notion of running the danger of turning into a golem, a gloomy troglodyte, or a grade school English teacher. The Future of Man gets into a vaultingly orchestral grandeur, but it's still a matter of transmigrating from one disaster to another, and, by the time the disc shuts down with the nervous Angel Falling through Water, you're glancing about, looking over your shoulder, jumping at the creaks and groans of the house settling in for the night, and wondering if watching The Exorcist mightn't be a good way of relieving the stress.
Edited by: David N. Pyles
Copyright 2011, Peterborough Folk Music Society.
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