The Remote Part

Template:Use dmy dates {{safesubst:#invoke:Unsubst-infobox||$params=italic_title,name,type,longtype,artist,cover,border,alt,caption,released,recorded,venue,studio,genre,length,language,label,director,producer,compiler,chronology,prev_title,prev_year,year,next_title,next_year,misc|$extra=italic_title,longtype,border,caption,language,director,compiler,chronology,year,misc|$aliases=italic title>italic_title,Italic title>italic_title,Name>name,Type>type,image>cover,Cover>cover,Border>border,Alt>alt,Caption>caption,Longtype>longtype,Artist>artist,Released>released,Recorded>recorded,Venue>venue,Studio>studio,Genre>genre,Length>length,Language>language,Label>label,Director>director,Producer>producer,Compiler>compiler,Chronology>chronology,Misc>misc|$flags=override|$B={{#ifeq:{{#invoke:Is infobox in lead|main|[Ii]nfobox [Aa]lbum}}|true|{{#if:Template:Has short description | |Template:Short description|noreplace}}}}{{#invoke:Infobox|infobox}}Template:Template other Template:Category handler Template:Main other{{#invoke:Check for unknown parameters|check|unknown=Template:Main other|preview=Page using Template:Infobox album with unknown parameter "_VALUE_"|ignoreblank=y|italic_title |type |name |image |cover |border |alt |caption |longtype |artist |released |recorded |venue |studio |genre |length |language |label |director |producer |compiler |prev_title|prev_year|next_title|next_year|chronology|year|misc}}{{#if:{{#invoke:String|match|error_category=Music infoboxes with Module:String errors|A|1=100 Broken Windows2000Warnings/Promises2005AlbumThe Remote PartTheremotepart.jpgA black-and-white drawing of a boy against a brown backgroundIdlewild15 July 2002* January–February 2001

September–December 2001Template:Flatlist Template:Hlist38:14Parlophone Template:Hlistx|2=</?t[drh][ >]|nomatch=}}|Template:Main other}}Template:Main other}}

The Remote Part is the third studio album by Scottish rock band Idlewild, released on 15 July 2002 by Parlophone. As they were becoming increasingly aware of their label's interest in them and their demos, the band's musical direction was being steered by guitarist Rod Jones. For the first half of 2001, the band recorded songs with producers Stephen Street and Lenny Kaye. Due to the uneven nature of the songs done between tours, they spent some time reworking 20 tracks in the Scottish Highlands. They recorded at Rockfield Studios in Wales, RAK Studios in London, and Sawmills Studios in Cornwall with producer Dave Eringa. Described as an alternative rock and indie rock record, it lacked the punk rock elements of their previous work.

Bookending two UK tours, "You Held the World in Your Arms" was released as the album's lead single on 15 April 2002. The second and third singles "American English" and "Live in a Hiding Place" were released on 1 July and 21 October 2002, respectively. During a stint of Europe, bassist Bob Fairfoull left the band, and was temporarily replaced by technician Alex Grant. They then supported Coldplay on their tours of the UK and Europe. In November 2002, Gavin Fox of Turn and touring guitarist Allan Stewart joined as official members. Two further tours of the UK followed in late 2002 and early 2003; they then went on a headlining US tour, before supporting Pearl Jam in that territory for two months.

The Remote Part received universal acclaim from music critics, some of whom praised the band's energy and songwriting. The album peaked at number two in Scotland, and number three in the UK, as well as charting in France and Ireland. It would later be certified gold in the UK. All of the songs appeared within the top 30 of the Scottish and UK Singles Charts, with "You Held the World in Your Arms" charting the highest at number four in the former, and number nine in the latter.

Background and writingEdit

Idlewild released their second studio album 100 Broken Windows in April 2000, which was produced by Dave Eringa.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=Passing19/> It peaked at number 15 in the UK, while all of its four singles appeared on the UK Singles Chart, with "Actually It's Darkness" reaching the highest at number 23.<ref name=UKhistory>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> With the making of the album, the band became aware of how invested their record label was with the band, and their feedback in regards to demos. Frontman Roddy Woomble acknowledged that the band had been working towards anthemic tracks, and was confident they would pull them off.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

They promoted 100 Broken Windows with a UK tour, a supporting slot for Muse on their headlining European tour, and appearances at the Glastonbury, T in the Park and Witnness festivals.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Woomble noted that the band felt like "a collective of songwriters" during the writing process for the next album. He credits guitarist Rod Jones with influencing their musical direction, stating that Jones "really started to take steps forward in terms of his guitar playing, and also his harmonies".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In August 2000, the band debuted three songs during a hometown show, all three of which leaned towards a 1980s sound;<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> further material was aired during a UK tour.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

ProductionEdit

In January and February 2001, Idlewild had recorded seven songs with producer Stephen Street at Linford Manor in Milton Keynes, prior to a tour of the United States in March and April 2001.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=Passing14>Woomble; Johnson; Kasparis 2022, p. 14</ref> They then supported Placebo on their US tour in April and May 2001.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Idlewild were unhappy with the material with they did with Street and decided to start again; Woomble said Parlophone were not satisfied with the results.<ref name=Passing14/><ref name=neumureview>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> They spent a day with producer Lenny Kaye, who Woomble found to be very enthusiastic about the material they had, in Brooklyn, New York City rearranging the songs.<ref name=Passing17>Woomble; Johnson; Kasparis 2022, p. 17</ref> They then recorded at Magic Studios in New York City with Kaye over the course of a week in June 2001; by this point, they had nine tracks in total.<ref name=NMEextra>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Woomble said Kaye was helped in his development as a songwriter, as Kaye aiding him in focusing on his lyrics, which no prior producer assisted in.<ref name=neumureview/>

By the end of June 2001, they had returned to the UK, and were mixing the material they did with Street at Townhouse in London.<ref name=Passing17/> They were scheduled to tour the US again in July and August 2001; however, due to Jones requiring hospitalisation for three weeks for an unspecified injury, it was cancelled.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In August 2001, they spent two and a half weeks writing and re-doing 20 songs at a cottage in Inchnadamph, located in the Scottish Highlands.<ref name=neumureview/><ref name=NMEfling>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=Passing18>Woomble; Johnson; Kasparis 2022, p. 18</ref> Following appearances at the V and Gig on the Green festivals that same month, the band continued working.<ref name=NMEextra/> Ten of the songs they had at this stage "weren't fitting together", according to Woomble, due to being recorded in between separate tours.<ref name=NMEfling/> EMI, who owned Palophone, approved of the demos they had done and allowed them to restart the album with Eringa as the producer. Following this, they practiced in Edinburgh, before traveling down to Wales in September 2001.<ref name=Passing19>Woomble; Johnson; Kasparis 2022, p. 19</ref>

The band and Eringa recorded at Rockfield Studios in Monmouthshire, Wales; sessions progressed slowly, and by the end of the month, Parlophone were still not content with the results.<ref name=Passing20>Woomble; Johnson; Kasparis 2022, p. 20</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In October and November 2001, they recorded at Sawmills Studios in Cornwall; Woomble said these sessions "need[ed] to matter [...] People expect something from us, and yet we never seem to be able to convince them".<ref name=Passing20/><ref name=Passing22>Woomble; Johnson; Kasparis 2022, p. 22</ref> Following this, they went to London, where they recorded at RAK Studios in December 2001.<ref name=Passing22/> After a brief break at home for Christmas, they returned to RAK in January 2002; it was during this period that Parlophone finally gave the band their approval.<ref name=Passing23>Woomble; Johnson; Kasparis 2022, p. 23</ref> Eringa, with engineer Guy Massey, produced nearly all of the final recordings on the album; him and Massey produced "Live in a Hiding Place" together, while Street produced "Tell Me Ten Words" while Cenzo Townshend as engineer.<ref name=TRPbooklet/> Sixteen tracks were recorded in total across all of the studios.<ref name=Collectionbooklet/> Eringa mixed all of the recordings in January 2002 with assistant Dan Grech-Marguerat, prior to the album being mastered by Howie Weinberg at Masterdisk in New York City the following month.<ref name=DISannounce>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=TRPbooklet/>

Composition and lyricsEdit

Musically, the sound of The Remote Part has been described as alternative rock and indie rock,<ref name=TMTreview>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> with influence from Nirvana, Joni Mitchell, and Red House Painters.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Its big sound was compared to that of Out of Time (1991) by R.E.M.<ref name=PLreview>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It lacked any of the punk rock traits of the band's previous releases, utilizing more layers of vocals and guitars, alongside the addition of keyboards and strings.<ref name=TMTreview/><ref name=NYTready>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Discussing the album's title, Woomble said it came up during a conversation with poet laureate Edwin Morgan; it was originally named Scottish Fiction and then Living in Fiction, before being christened The Remote Part.<ref name=NMEfling/><ref>Woomble; Johnson; Kasparis 2022, pp. 17, 24</ref> Jones said they had planned to make a double album, where all of the electric songs would be on the first half and all the acoustic ones would be on the second part, though he was unsure as to when this idea was dropped.<ref>Woomble; Johnson; Kasparis 2022, p. 28</ref> He considered the time they spent in Inchnadamph to be important to the development of their style, embracing the pop sensibility of their sound, which he said was always present albeit in a reduced manner.<ref>Woomble; Johnson; Kasparis 2022, p. 29</ref>

The album's opening track, "You Held the World in Your Arms", features a string arrangement by Sally Herbert, and a synthesizer.<ref name=neumureview/><ref name=TRPbooklet/> It was the first song the band had written when they were in the Scottish Highlands.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The song initially lacked the instrumental section that opened it, instead beginning with the slow verse. After some feedback from the label, Eringa attached the chorus as the opening part.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The power pop track "A Modern Way of Letting Go" was compared to the work of the Foo Fighters and echoed the band's roots.<ref name=neumureview/><ref name=CWASreview>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It was Woomble's attempt at "deconstruct[ing] the idea of a rock song in a rock song".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The U2-esque ballad "American English" uses acoustic guitarwork and piano.<ref name=neumureview/><ref name=NYTready/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> When first working on the song with Kaye, it lasted for longer and featured a spoken-word portion.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It is about American poet Walt Whitman, the role an author can play in their song, and how meanings can be distorted.<ref name=Collectionbooklet/>

"I Never Wanted", co-written between the band, previous guitarist Jeremy Mills, and touring guitarist Allan Stewart, is a mid-tempo ballad that is reminiscent of The Soft Bulletin (1999)-era Flaming Lips.<ref name=TRPbooklet/><ref name=PMreview>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Ash-indebted "(I Am) What I Am Not" was influenced by the writing of Fernando Pessoa in his book The Book of Disquiet (1982).<ref name=TACreview>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "Live in a Hiding Place" is an acoustic track with piano during the chorus sections.<ref name=PMreview/> "Out of Routine" was originally titled "Ceilidh Hard", which was named after "Party Hard" (2001) by Andrew W.K.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "Century After Century" is a mid-tempo song; "Tell Me Ten Words" evokes the sound of R.E.M., and opens with a country-like guitar intro.<ref name=CWASreview/><ref name=PMreview/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "Stay the Same" is a hard rock song.<ref name=PMreview/> The album's closing track "In Remote Part/Scottish Fiction" ends with a spoken-word narrative from Morgan about the band's Scottish identity.<ref name=NMEfling/> When first contacting Morgan, Woomble had sent him a letter where he told him of his admiration for Morgan's work.<ref name=SPGMTN/> Woomble had been a fan of Morgan's since his teenage years, and detailed identity and belonging in his letter.<ref name=BTLD>Template:Cite book</ref> Morgan replied with his own letter, which concluded with a poem that ended up becoming "Scottish Fiction".<ref name=SPGMTN>Template:Cite book</ref>

ReleaseEdit

On 27 February 2002, The Remote Part was announced for release in five months' time.<ref name=NMEso/> They went on a short tour of the United Kingdom a week later.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> They embarked on a longer UK tour April and May 2002.<ref name=NMEso>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> They appeared at T in the Park and Glastonbury Festival.<ref name=NMEparty/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Remote Part was released on 15 July 2002 through Parlophone.<ref name=NMErelease>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The concept for the artwork was done by Woomble; it consists of an image from the film My Way Home (1978), which was provided by the British Film Institute.<ref name=TRPbooklet/> The liner notes include the phrase "support your local poet", to which Woomble explained it was satire as they had been "tagged as this 'lyrical/poetic' band".<ref name=LMinterview>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It was promoted with in-store performances and signings at Virgin Megastores.<ref name=NMErelease/>

Following this, the band appeared at V festival in August 2002.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In September and October 2002, the band went on a tour of Europe. On 1 October 2002, it was announced that bassist Bob Fairfoull had left the band, and was temporarily replaced by bass technician Alex Grant.<ref name=NMEout>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Fairfoull, who later joined Degrassi, reportedly quit the band following a fight with Woomble; he did not like the direction the band's music was going in.<ref name=NYTready/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> For the rest of the month, the band supported Coldplay on their UK arena tour and then in Europe.<ref name=NMEhome>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> On 20 November 2002, it was announced that Gavin Fox of Turn would permanently fill Fairfoull's role. Alongside this, Stewart, who had been part of the band's crew, became their full-time guitarist.<ref name=NMEturn/>

In spite of Fox's addition, Grant still continued on bass through to the band's December 2002 UK tour, which was supported by the Walkmen and labelmates the Star Spangles.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In January and February 2003, the band went on another tour of the UK, leading up to a performance at the 2003 NME Awards.<ref name=NMEturn>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Following this, they embarked on a tour of Australia.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Remote Part was released in the US by Capitol Records on 25 March 2003; fans were given a promotional EP that featured "You Held the World in Your Arms", "The Nothing I Know", "Everything Flows" and a live version of "In Remote Part/Scottish Fiction".<ref name=CMJretail>Hart 2003, p. 40</ref><ref>Template:Cite AV media notes</ref> The band went on a headlining tour of that territory in the same month, appeared at Coachella, and had a supporting slot for Pearl Jam on their US arena tour in May and June 2003.<ref name=CMJretail/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> During this trek, the band performed on Last Call with Carson Daly and Jimmy Kimmel Live!.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Soon afterwards, the band performed at the Glastonbury, Move, Frequency and T in the Park festivals.<ref name=CMJretail/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

SinglesEdit

"You Held the World in Your Arms" was released as a single on 15 April 2002.<ref name=NMEso/> Two versions were released on CD: the first with "All This Information", "No Generation", and the music video for "You Held the World in Your Arms", while the second included "A Distant History" and "I Was Made to Think It".<ref>Template:Cite AV media notes</ref><ref>Template:Cite AV media notes</ref> The "You Held the World in Your Arms" music video was posted on Dotmusic four days later; it was directed by Sam Arthur.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=SFbooklet/> "American English" was released as a single on 1 July 2002.<ref name=NMEparty>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Two versions were released on CD: the first with "Poor Thing", "These Are Just Years", and the music video for "American English" (directed by Alex Smith), while the second featured "The Nothing I Know" and "We Always Have to Impress".<ref name=SFbooklet/><ref>Template:Cite AV media notes</ref><ref>Template:Cite AV media notes</ref>

"Live in a Hiding Place" was released as a single on 21 October 2002.<ref name=NMEout/> Two versions were released on CD: the first with "Great Times Wasted", "Everything Flows", and the music video for "Live in a Hiding Place" (directed by Wim Wenders), while the second included "I Found That Essence Rare", and a live version of "I'm Happy to Be Here Tonight".<ref name=SFbooklet/><ref>Template:Cite AV media notes</ref><ref>Template:Cite AV media notes</ref> "A Modern Way of Letting Go" was released as a single on 10 February 2003.<ref>Template:Cite AV media notes</ref> The CD version included version versions of "A Modern Way of Letting Go" and "In Remote Part/Scottish Fiction", while the DVD edition featured audio of a radio session version of "(I Am) What I Am Not", the music video for "A Modern Way of Letting Go" (directed by Smith), and footage of the band in New York City.<ref name=SFbooklet/><ref>Template:Cite AV media notes</ref><ref>Template:Cite AV media notes</ref> "A Modern Way of Letting Go" was released to modern rock radio stations in the US in June 2003.<ref name=CMJretail/>

Full-album performances and related releasesEdit

The Remote Part was played in full in December 2008 at King Tut's Wah Wah Hut in Glasgow as part of a series of shows where the band performed all of their albums.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> They performed it again across a few shows in 2017 and 2018, one of which featured Fairfoull.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=Skinnyreview>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It was released as a two-CD package with their 100 Broken Windows in 2011.<ref>Template:Cite AV media notes</ref> "You Held the World in Your Arms", "American English", "A Modern Way of Letting Go", "In Remote Part/Scottish Fiction", and "Live in a Hiding Place" were included on the band's first compilation album, Scottish Fiction: Best of 1997–2007 (2007), alongside the music videos for all of the album's singles.<ref name=SFbooklet>Template:Cite AV media notes</ref> "A Modern Way of Letting Go", "American English", and a live version of "American English" were included on the band's third compilation album, The Collection (2010).<ref name=Collectionbooklet>Template:Cite AV media notes</ref>

ReceptionEdit

Template:Album ratings The Remote Part was met with universal acclaim from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 83, based on 20 reviews.<ref name=Metacritic/>

John Donohue of Blender said that the band could not use "goonish rockers" as a pretence anymore as their "romantic natures have taken over, to great effect". He added that the band "show their true smarts by continuing to attack every track with youthful energy and passion".<ref name=Blenderreview/> Chris Long for BBC Manchester Music noted that there was "moments when you think the band's fallen into only being able to write fast rock or slow ballad, and there's nothing in-between, [...] but it never lasts long enough to offend".<ref name=BBCMMreview>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> AllMusic reviewer MacKenzie Wilson wrote that the band had found what they were looking for: "a beautiful calmness and a comfortable spot to reflect upon – and The Remote Part flawlessly does the job". She added that it was "obvious" based on their earlier material that the band were "headed to this point in their career".<ref name=AMreview/> Entertainment WeeklyTemplate:'s Brian M. Raftery found the album to be a "perfectly fine collection of emotive, big-ambition British rock songs".<ref name=EWreview/>

In a review for NME, Mark Beaumont saw the album as a "bold, bright, broken and bitter beast" that showcases a band that "burst out of their student-sheep’s clothing and rip the throat out of Coldplay".<ref name=NMEreview/> Rolling Stone reviewer Gaylord Fields said the band "ratchet up the latent R.E.M.-isms, elevating themselves heads above their musical kin".<ref name=RSreview/> Pitchfork contributor Rob Mitchum saw the album's potential for "alt-rock hits [...] where each and every song could be a single".<ref name=PFreview/> The Guardian music correspondent Dave Simpson noted that the album was "musically anthemic but lyrically introspective".<ref name=Guardianreview/> SpinTemplate:'s Andrew Beaujon wrote that the band were "compelling when they put Woomble's sad-sack lyrics front and center," though on a few songs, their "turgid squall swamps his words".<ref name=Spinreview/>

The Remote Part charted at number two in Scotland,<ref name=Scochart/> and number three in the UK.<ref name=UKchart/> It also reached number 39 in Ireland,<ref name=Irechart/> and number 135 in France.<ref name=Frachart/> "You Held the World in Your Arms" charted at number four in Scotland,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and number nine in the UK.<ref name=UKhistory/> "American English" charted at number eight in Scotland,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and number 15 on the UK.<ref name=UKhistory/> "Live in a Hiding Place" charted at number 17 in Scotland,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and number 26 in the UK.<ref name=UKhistory/> "A Modern Way of Letting Go" charted at number 21 in Scotland,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and number 28 in the UK.<ref name=UKhistory/> The Remote Part was certified gold by the British Phonographic Industry (BPI).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Playlouder ranked the album at number 10 on their list of the top 50 albums of 2002.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>