Feeding off an ambient layer of synths and electronics, ‘Think Of The Ocean’ welcomes the new sound in immediately. Sure, it’s filled out with a blend of piano and cello but laid out so delicately, they just add to the spaciousness of the composition, allowing Remiddi’s yearning vocals to float over the top effortlessly. In fact, it’s his vocals that really shine through on ‘Permanent Signal’. Where as on ‘Strange Weekend’ the haunting croons got lost in the restless rhythms – barely audible in places – these sparser compositions allow Remiddi’s vocals to be brought much more into the foreground of each track.
Though it’s not so much that he’s completely ditched the blissed-out, gauzy dream-pop as he has utilised it with more intensity. ‘The Way Out’ is still beat and drone-heavy and the likes of ‘Warehouse’ and ‘Echo’ still writhe in a synthesised haze; it’s just that they’re more organic and less claustrophobic. The same could be said for the gothic-tinged organ introduced on ‘Minor Pleasure’ and glistening guitars of the Beach House-esque ‘Night Birds’, which replace the electronics of the first album. No doubt helped along by the relocation from his bedroom to a studio for the recording process, it’s the strings, keys and percussion that take prominence this time around. But the effect is just as hypnotising.
So while ‘Permanent Signal’ may have taken a whole new approach by Remiddi, the shimmering atmospherics still weave their way through each track. It’s woozy, dreamlike bliss and Mauro Remmidi owns it well.