“You’ll run,” she sings on “Memorial Day,” drawing out the words into a narcotic, sparkling haze. Often when it concerns love, it’s about how tentative it feels: “Turning the wheel on my street/My heart still skips a beat,” she sings on “ Jupiter 4” (named for the synthesizer behind much of the album), a whirring dirge filled with ghostly cries and thunderclaps.
It is the peak of Van Etten’s songwriting, her most atmospheric and emotionally piercing album to date. The restraint is more of a revelation than another addition to the grim details that litter her catalog, explaining everything about Van Etten’s hard-won control over her life.Īnd yet, Remind Me Tomorrow is not unyielding. Crucially, we never find out what she tells him. The exchange forms the start of a relationship: held hands, knocked knees, total candor. “It’s cathartic to play, and people like it,” she told The Ringer of one old song, “but I also want to challenge people on why they like it, and how it makes me feel.” Remind Me Tomorrow starts with a disclosure, “I Told You Everything.” “You said, ‘Holy shit, you almost died,’” she sings, repeating the line throughout the song and peeling back layer by layer of shock factor until only sad starkness remains. An abusive relationship she experienced in her early 20s has defined much of her songwriting to date, so much so that it started making her feel uncomfortable.
More than ever, it’s these uneasy textures that do Van Etten’s storytelling for her. The aggressive sound meets its match in her cresting, torrid sense of melody. Corroded synths flicker like a helicopter rotor, cutting her characteristic grace with a sense of menace the production and Van Etten herself often sound as though they’re asphyxiating. Remind Me Tomorrow is as much a faithful reimagining of her muscular songwriting as last year’s Double Negative was of Low’s haunted spirituals, right down to the shared apocalyptic atmosphere. That is, thankfully, not the case here nor is it that Van Etten, tired of the guitar, just threw a few synths at the wall. The third original ‘Concept Zero’ follows next and lays down psychedelic guitars, choppy stabs, murky bass swells and dynamic delays before Noema rounds out the release with his take on ‘Remind Me Tomorrow’, flipping the switch to raw, crunchy drums and spoken word vocal chants amongst the original’s chuggy arps and dreamy melodic elements.It’s her first album made with John Congleton, a producer many acts have turned to in recent years under the guise of wanting to mimic his art-pop work with St.
Title-cut ‘Remind Me Tomorrow’ follows and brings modulating resonant synth lines into the forefront alongside elongated subs, cinematic pads, and circling sequences while Luca also stirs in his own rap/spoken word hip house style vocals.
‘Broken Promises’ leads the way via dreamy dubbed out textures, gnarly bass tones, twinkling chimes, and airy arpeggios atop a bumpy drum groove. Here joining forces with the ‘Remind Me Tomorrow’ EP the two artist’s deliver more of their distinctive tripped- out, dropped tempo club sound. Italian rooted but Germany-based Luca Musto returns to the Magic Movement here following his 2018 ‘Parabel’ EP and has since gone on to release further material with Cologne’s Feines Tier and Laut & Luise in recent years. The Magic Movement marks its twenty fifth release this April with Coss & Luca Musto’s ‘Remind Me Tomorrow’ EP, comprised of three originals from the Berlin-based pair and a remix from label boss Noema.Ĭoss has been a mainstay at Berlin’s Kater Blau club for some time now and just recently delivered an EP on the club’s in-house imprint Kiosk ID as well as an EP for his own metanoia.
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