For their third full-length release, Eivind Opsvik & Aaron Jennings move over from the Rune Grammofon label to Opsvik’s own Loyal Label, and in doing so move closer to embracing a more fully organic group sound. To call what they do post-rock isn’t entirely inaccurate, but may be somewhat misleading as their music certainly doesn’t fall into that brand of tired, crescendo-filled instrumental rock that has come to typify this “genre”. Rather, on “A Dream I Used To Remember” they come closer to sounding like late-period Gastr Del Sol sans vocals or some of their Thrill Jockey peers, combing complex orchestral pop arrangements, a slew of acoustic and electronic instrumentation, and subtle post-production wizardry. Opsvik & Jennings’s, though, supplant O’Rourke & Grubbs avant inclinations with a more playful and accessible sound.

After the wobbly, broken music box sounds of the opener, the duo follow up with two intricately weaved pieces, “Canada” and “Swimming Back into the Picture”, that feature delicate acoustic and slide guitar work and, in the latter, some heavenly chamber choir vocals. Things get a little more heady on “Anchor Lane Parade”, but the easy-listening brass playing keeps things, well, anchored. The digital samba rhythms of “Windswept” are overlaid with melancholic banjo and electric guitar parts. Similar elements crop up in the second half of the album, with most of the discernable electronic touches left to the percussive aspects of the songs.

All said, “A Dream I Used To Remember” shows Opsvik & Jennings to be adept musicians, engineers, and composers all the same. 8/10 -- David Perron (7 October, 2009)