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It's an album peppered by moments of brilliance and not held back by its few brave failures and one that no one can have reasonably expected the talented quartet to have come up with.
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The later half is really rather spectacularly ace, in an unexpectedly grandiose way.
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Q MagazineFoward Russia! drop the post punk sound and art-school posing in favour of an emo reinvention.... It works best when they don't overcook it. [May 2008, p.134]
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UncutLife Processes sounds like mice playing Hundred Reasons covers. [May 2008, p.95]
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This deceptively named British band's second album revisits the terrific uproar of its debut only briefly before jumping headlong into more expansive, proggier territory.
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Every part of Life Processes seems meticulously calculated with such antecedents in mind, laid out in every detail and implemented exactly to referential specification.
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The utter zeal and conviction with which they play are often breathtaking, even if they don't leave room for much subtlety or humor, and can be more than a little exhausting for listeners who are not as impassioned as ¡Forward, Russia! so clearly are.
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Gorgeous, thoughtful, and musically brilliant, the album runs like a concept album about life experiences should...beginning, middle, end; all equally interesting and exciting.
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A couple of moments are cool--the seamless transition to hard rock guitars in 'Gravity and Heat,' the intimacy of closer 'Spanish Triangles.' But there's not much else worth hearing on Life Processes.
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The end result, though diverting, is a slightly uncomfortable mid-point between the two albums. And Life Processes could quite possibly be a transitional album, a first step in a bigger, bolder direction that doesn’t quite let go of "Give Me a Wall‘s" quirks; only time will tell.