2006年にTakahiro Kido / Taku Tanioka / Yuki Murata / Utaka Fujiwara / Takahiro Matsue / Tadashi Yoshikawaの６人によって結成されたAnoice（アノイス）による、アメリカImportant Recordsからリリースされた全世界デビュー作。その後、Takahiro KidoやYuki Murataのソロ活動、Takahiro KidoとYuki Murataの２人によるユニットcru、Takahiro Kido / Takahiro Matsue / Tadashi Yoshikawaによるバンドmokyow、Takahiro Kido / Takahiro Matsue / Yuki Murata / Utaka Fujiwaraの４人とmatryoshkaのヴォーカリストCalu等とのバンドRiLF、Yuki Murataによるシークレットユニットなど、多くのサイドプロジェクトを生み出していくAnoiceの記念すべきファーストアルバムです。Sonic YorthやPiano Magicなどの多くのアーティストに絶賛された、クラシックとロックを融合した美しさと破壊の新しい芸術作品です！

= Ricco Label

To be honest, this release came out of nowhere to me. I heard the name once or twice, often near the word “Rachel’s”, and felt I should know what the fuss was about, seeing as I am supposed to be on top of these things. Dutifully I looked up the band's website and within the day I had pre-ordered the album. What we have here are 6 Japanese kids on a piano, viola, bass, guitars, and drums – all worked over with electronics. The members cite influences as varied as Max Richter to Cyndi Lauper, Avro Part to LL Cool J, along with almost everything in between… and it obviously works for them that way because the end result is, for the most part, outstanding.

Mostly due to my expecting to hear something akin to the aforementioned Rachel’s I was a little put out by the first 3 tracks of the album when I did receive it. Anoice have a much more unsettling and jarring sound for these few opening tracks – the title "Aspirin Music" makes it seem likely this is intentional. However, from track 4 onwards the band seems to open up as they break into stunning neo-classical compositions and come into their own. The music is mostly centred on mournful viola pieces with picked guitars and pianos. In fact, the electronics they claim are in there are very hard to detect so readers put off by that shouldn’t be too worried – conversely, don’t expect something like 65DoS. The definite standout tracks are "Liange", which, as a friend of mine put it, is “so Japanese it hurts”, and the Yndi-Halda-minus-the-soaring-gutiars-esque "The Three Days Blow". These two tracks alone are the most breathtaking songs released by anyone this year and should convince anyone of the quality of this release.

Now for one small gripe - every odd-numbered track on the CD is a 2 minute interval called "untitled" and these short pieces are mostly just experiments, whilst by no means terrible, they are really just filler (and of course they will annoy anal Last.fm users because "Anoice – Untitled" will become your top track overall in no time. Trust me). One such intermission is reminiscent of DSCO, which I like, but on the whole these seem like an easy way to pad out a release and hide that there are only 4 ‘real’ songs on the album. I hope any future output by the band focuses more on the heart wrenching melancholia they are so adept at and loses these interruptions.

= Ian Nicholls - The Silent Ballet

I don't think a year would be official without some fun melding of the neo-classical and post-rock genres. Remmings is the first taste of Anoice to US ears, with Important Records formally presenting the sextet to the world. The listener would have to consciously try to not be impressed by the work of these Japanese musicians, whose compositions are a balancing act. Instruments quickly enter and exit the scene, careful not to clutter the fragile tension, but also adding delicate detail work to the pieces. "Liange" is truly breathtaking, showcasing the appeal of this approach and the wonderful compositional skills of the band. Much of the music revolves around the viola and piano, but very subtle contributions are made via guitar and percussion to heighten the listening experience and add depth to the body of work. Unfortunately Remmings is a short listen, made even more so by five inconsequential "untitled" tracks that separate each proper track, but we have high hopes for Anoice in the future.

= The Silent Ballet

With guitars, bass, viola, keyboards and drums, the six Anoice succeed to create incredible atmospheres between Sigur Ros, Arvo part and Rachel's.

= Rockerilla

Even when all of them are going at it hammer and tongs they act more like an orchestra with each player adding their own element to the melody. Anoice hit all the blissful and joyous emotions and only rarely dip into melancholy like most bands of the same ilk.

= Brainwashed

Anoice have produced something entirely different and original, a mature record of great beauty and attention to detail that rises above any clichés and should by all accounts establish them as one of the leading artists today.

= Rockarolla

Anoice Remmings (Important) This Tokyo-based sextet make some really sublime instrumental music. Monumental and subtly nuanced; they all allow plenty of room for each other. Mixing guitars, programming, viola, bass, piano, drums, mandolin, and synthesizer, into the nine varied sonic excursions presented here. Mesmerizing soundtracks to nonexistant films that bloom in the center of your mind. Ranging from very small and soft spoken, to toweringly grand and vast. Some pieces have the feel of chamber music renditions of Mogwai or Spacemen 3 songs; others feel like an accurate aural description of loneliness.

= Dream Magazine

I was sold this record on the promise that Anoice are “like Rachel’s…but they rock…” But isn’t that Godspeed? Well, no because whereas Godspeed dangle you worringly over a cliff for the duration of an album, Anoice frequently drop you, pick you up again and occasionally even make you float. What’s more, there’s often more of a rhythmic framework here. The bass isn’t afraid to groove, the drums do ‘Bolero’ behind the cascades of passionate viola and hammered piano. Anoice, in fact, are as adept at approaching the rock/classical thing from the rock end as the classical end, which gives them more than one string to their bow and potentially makes for some celestial live performances. In places, they sound like an instrumental Arcade Fire. In others – particularly the incredibly beautiful tracks 5-8(Remming) – they sound as good as any living film composer worth his salt. If track 6 (Liange) doesn’t astound you, you are a glacier. There’s a readymade market for evocative, anthemic, cinematic stuff like this, of course, be it on the bill of All Tomorrow’s Parties or soundtracking some intense French film noir, with Emanuelle Beart running down the steps of la Basilique du Sacre Coeur in torrential rain. Even so, Anoice have that something special that could elevate them even beyond that. This is not a group, as such. These people are modern composers.

= Glen Johnson - Piano Magic

2004年に東京で結成されたインストバンド。Takahiro Kido, Yuki Murataを始め、RiLF（Anoiceとmatryoshkaのヴォーカリストcaluによるバンド）, mokyow（AnoiceのTakahiro Kido, Takahiro Matsue, Tadashi Yoshikawaの3人とキーボーディストKenichi Kaiによるバンド）, cru（AnoiceのTakahiro KidoとYuki Murataによるネオクラシカルユニット）などの多くのサイドプロジェクトやシークレット名義を持つ、メンバー全員がマルチインストゥルメンタル奏者のインストバンド。2006年ボストンのImportant RecordsよりNon-Formatがアートワークを手がけたファーストアルバム「Remmings」でデビューして以来、世界中の様々なアーティストから高い評価を得ている。2008年には音楽レーベルRicco Labelを設立し、セカンドアルバム「Out Of Season」と、廃墟ホテルにて即興演奏をレコーディングしたミニアルバム「Ruined-Hotel Sessions」をリリース。2012年には、ピアノと弦楽器をベースにした壮大なオーケストレーションと、時に融合される鮮烈なノイズとビート、及び電子音による破壊的なまでに美しいサウンドスケープで唯一無二の世界観を作り上げたアルバム「The Black Rain」を全世界リリース。AnoiceとメンバーはCM（アルマーニ、ルイ・ヴィトン、Rag & Bone、Google、NTT、JT、SEEDコンタクトレンズ、パナソニック、TRIUMPH、アステラス製薬、サイトーウッド等）映画/映像作品（ヴェネチア国際短編映画祭受賞作品「Internet is a Desert」、ベルリン/カンヌ国際映画祭ノミネート作品、及び札幌国際短編映画祭受賞作品「Li.Li.Ta.Al」、宮崎駿監督ジブリ短編映画「たからさがし」、東宝映画「ホノカアボーイ」、オーストリア映画「Penerose」、カルフォルニア州レッドウッド国立州立公園等）イベント（ミラノコレクション、モスクワインターナショナルヴィエンナーレ、チェコバレエ「Tanzbrucke 2011」、クラシック音楽祭「ラ・フォル・ジュルネ・オ・ジャポン」、豊島区政試行80周年イベント「笑顔のハート」、伊勢丹「NIPPON VISION」、別府アルゲリッチ音楽祭等）アート雑誌の企画（フランス「Purple」、オランダ「Another」、イギリス「POST」、ベルギー「GONZO」等）音楽アーティストの楽曲（Films、The Flozen Vaults、未知瑠、Pleq、ソノダバンド、空気公団、南聡、エリーニョ、The Watanabes、Holocene等）等の音楽制作を担当、及び編曲や演奏等で参加している。