Over the course of the last 20+ years, Fredrikstad’s (Norway) Remington Super 60, have been gifting the world releases that flirt with an obvious sense of twee yesteryear, whilst still imbuing their own sense of ‘strange unique’.
Thankfully this release does not really attempt to twist their immaculate template and we are afforded an EP that slides gracefully into two distinct notions. Initially, the best of the EP, the opening triple salvo of Fake Crush, I Don’t Wanna Wait and The Highway Again (see below), course retro casio keys and subtle breathless vocals through which the welcome intrusion of the most beautiful jangled guitars riffs are woven. It’s all very RS-60. All very the twee side of indie-pop and still all very essential.
As is always the case with their releases, they have that ‘other side’ which is a little bit more idiosyncratic, if never genuinely eccentric. As such the jangled ambience of Tropical Drone Pop (see below) gets as close as RS-60 might ever get to being considered Fad Gadget style Post Punk.
Similarly Dina Hender nudges, if not quite pushes, the envelope but somehow still manages to be the world best ‘Enya doing twee’ track and Dreaming of Summer slows things down even furher, stripping away layers of jangly 60s inflected melodies that position themselves somewhere near the more laconic / best moments of the The Orange Peels.
When I listen to any new release by this band, it always feels as though I am returning to more immediate involvement in my best kept musical secret. Of course I am not, as many love their music…however, it is this sense of intimacy and warmth that always draws me back to them.