Alright, let’s dive into Wheel In The Roses by RemaRema. Released in 2003 on the legendary 4AD label, this UK-born album is like a chaotic yet oddly satisfying mixtape from another dimension. It’s got everything—Pop/Rock vibes, Electronic experiments, and even some Industrial grit. You can hear hints of Post-Punk, Noise, New Wave, Punk, and Experimental Rock all wrestling for attention. And honestly? That’s what makes it so damn interesting.
First off, the band itself reads like a DIY supergroup with Max smashing drums, Marco shredding guitar, Mark Cox doing synth wizardry alongside his organ duties, and Michael Allen pulling double duty on bass and vocals. Produced by both the band (under their own name) and Wally Brill, this thing feels raw but deliberate, like they knew exactly how messy they wanted to get.
Now, I gotta talk about two tracks that stuck with me: “Fond Affections” and “Feedback Song.”
“Fond Affections” hits different—it’s moody, atmospheric, and kinda haunting. Michael Allen’s vocals have this detached coolness to them, like he’s singing from somewhere far away while you’re standing right there. The synths swirl around like fog rolling over a graveyard at midnight. It’s not perfect, but that’s why it works; it has personality for days. Every time I listen to it, I feel like I’m sneaking through an abandoned warehouse full of secrets.
Then there’s “Feedback Song,” which is basically controlled chaos. If you’ve ever wondered what happens when guitars scream louder than humans, here’s your answer. This track doesn’t hold back—it’s abrasive, loud, and somehow still catchy as hell. It reminds me of those moments during live shows where everyone loses their minds because the volume just took things up a notch. There’s something cathartic about its relentless energy.
The rest of the album follows suit—experimental as hell, blending genres without caring too much if it fits neatly into one box or another. Tracks like “Instrumental” give you room to breathe, while others keep piling on layers of sound until you’re drowning in texture.
What really stands out though is how unpolished it feels. Like, yeah, maybe the production could’ve been cleaner, but would we love it half as much? Probably not. It’s rough edges make it memorable, like graffiti on a wall that tells a story better than any polished mural ever could.
And hey, fun fact—or maybe not-so-fun depending on who you ask—the liner notes are written by Kevin Mooney. Dude knows his stuff, and it adds a nice touch of context to the madness.
So yeah, Wheel In The Roses might not be everyone’s cup of tea. Some folks will call it pretentious, others will say it’s disjointed. But screw ‘em. For me, it’s a wild ride that refuses to sit still, and sometimes that’s exactly what music needs to be. Honestly, listening to this feels like finding a weird little treasure in a thrift store—you don’t know why it speaks to you, but once you take it home, you realize it’s gold.
Oh, and before I forget—if anyone asks, no, I didn’t write this review after staying up all night listening to it on repeat. Totally sober thoughts here. Promise.
