- Critic score
- Publication
- By date
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May 21, 2013A confounding set of song sketches and hot riffs, this one belongs with 2005's Interim, 2001's Are You Are Missing Winner, and others that are considered "for hardcore fans only."
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Aug 9, 2013OK, it’s not pretty, but it’s pure Fall. And that’s what makes them a difficult band to feel disappointed with, even if the release is, like Re-Mit, something of a second-rate offering.
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MojoJun 17, 2013Some ace stuff aboard here.... But you do long for MES to turn up with a sheaf of structured writing, as per Hex Enduction, rather than a sozzled brainful of scattered grievances and in-jokes. [Jul 2013, p.86]
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May 13, 2013Throughout the entire album, you’re left wondering how Smith, who is responsible for some of the most untouchable, spontaneous punk classics of all time, could muster the audacity to purposefully sound like such a parody of his previous self.
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Q MagazineJun 17, 2013With this 30th outing there's a troubling sense of treading water. [Jul 2013, p.103]
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Jun 27, 2013Re-Mit sounds alive, funny even, as if Smith has made peace with something--possibly his own genius.
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May 13, 2013Like all the band's recent output, Re-Mit isn't going to win over anyone who isn't already a Fall devotee.
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May 13, 2013"Irish" and "Jetplane" bring a late flicker of focus to the proceedings, but the band's resolute primitivism works to their detriment.
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May 13, 2013The songs on Re-Mit, his 30th studio album with his band the Fall, resemble a row of unevenly smashed windows, or patches of broken concrete in a street--unsightly ruptures within a familiar context, potentially more shapely and interesting the closer you look, but perhaps not.
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May 14, 2013One of the first things that jumps out at the listener, and it's something which persists throughout, is the disconnectedness between Smith and Elena Poulou in the control room, arsing about with daft voices and keyboard squiggles respectively, and the big lads at the back.
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Jun 10, 2013This album is no disaster, no Moonbeams and Bluejeans, but the benign flatness here suggests the ineffable whatever that made The Fall fascinating has fallen away, and it looks very far gone.
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UncutMay 24, 2013Not wonderful, but certainly frightening. [Jul 2013, p.75]