Ulrich Schnauss / Remember Remember @ Nice 'N' Sleazy, 16 March

Remember Remember’s multilayered instrumentals shouldn’t really lend themselves to a stripped-down approach; Graeme Ronald’s compositions, on the face of it, are more about texture and atmosphere than songcraft. Yet with just one guitar – and dextrous deployment of a loop pedal – he manages to recreate some of the full band’s melodic density. Moreover, the fragility of pieces like One Happier is emphasised by this approach: Ronald’s overlapping, descending arpeggios acquire a tenderness and subtlety that is sometimes lost with the full live band.

Ulrich Schnauss, by contrast, performs a set which gradually builds into swirling, intense walls of noise. While his compositions, like Ronald’s, have sweetly melancholy melodies at their centre, Schnauss is less influenced by the epic grandeur of Mogwai-style post-rock. Instead, from 2001’s Far Away Trains Passing By onwards, the Berliner has honed a variant of dense, dreamy electronica that connects to the more hallucinatory reaches of 90s shoegaze, while also placing him alongside contemporaries like Pantha du Prince.

In conjunction with some hypnotically effective visuals (aerial views of nighttime cityscapes, silhouetted forests), it’s an entrancing blend in the live context. On tracks like Borrowed Time, which meshes oscillating, phased beats over Tangerine Dream-esque synth chords, Schnauss’ sound even acquires a danciness only hinted at on record. It’s that rhythmic complexity, combined with a sensibility that draws on alternative rock’s outer limits, which makes him so distinctive. Schnauss may be a techno artist, but as his reception tonight proves, he’s unusually adept at transcending the constraints of genre.