It’s no secret that I love Field Music, through their fits and starts and hiatuses and occasional missteps (2012’s Plumb being a bit morose, in this author’s opinion, though it won the Brewis brothers an overdue Mercury Prize nomination). The four-song stint stretching from “Effortlessly” through to “All You’d Ever Need To Say” on Field Music (Measure) is one of the great art rock suites of our age—though on vinyl it is inexplicably torn between two sides—and I told the band as much when I met them in Canonbury’s Myddleton Arms, over several G&Ts, back in March. Continue reading The Commontime gents
Yet again, I don’t feel qualified to do an expansive rundown of my favourite albums of the year. Yet again, I’ve invested too much time into old albums by elder statesmen. And yet again, I’m still offering up a simulacrum of the detailed listocracy this blog used to annually host. Here, then, in chronological order, are thirteen albums I enjoyed this year:
Sharon Van Etten, Tramp. Of course it’s useful to have The National’s Aaron Dessner on production duty, along with all the talented friends he can cajole into the recording booth. But let that not take away from these smouldering confessionals, penned by a keen-voiced songwriter with a sophisticated pen. There are hints of Dessner’s day job, both in the languid slow-burn of something like “Give Out” and in the propulsive numbers like “Magic Chords”. But, as with the best female artists, the anguish is more primal than the resigned frustration we get out of someone like Matt Berninger. With a different producer, we could easily imagine Tramp’s follow-up connoting a PJ Harvey-like shape-shift.
Field Music, Plumb. Is it lazy journalism to put Field Music albums in these lists year after year? Well, not when each one demonstrates such a leap into distinct territory whilst maintaing the essential touchstones of what makes this band great. Eschewing entirely the bucolic ambience of Field Music (Measure)’s second half, and much of the first half’s chunky Led Zep infatuation, this album is taut and brief. A typical three-minute cut contains innumerable volte-face—shifts in instrumentation, tempo and mood. I suppose it’s closer to Tones Of Town, but seasoned with a few years’ more wisdom and war wounds. On songs like “A New Town” and “Choosing Sides”, the Brewis brothers sound gutsy and more-than-mildly peeved; the album’s more meditative moments (“A Prelude To Pilgrim Street”, “So Long Then”) are less pastoral and more in keeping with, say, the ruminating tone of Tomas Alfredson’s Tinker Tailor Soldier Spy adaptation. (→full review here)
The Shins, Port Of Morrow. Astoundingly solid. And if that sounds like I’m damning it with faint praise, damn you. The production may be overly slick, but the songs are as charming as ever. In fact, in places, these are James Mercer’s strongest, most sophisticated compositions to date—listen out for the Scary-Monsters era Bowie-isms on “It’s Only Life” and “40 Mark Strasse”. When he needs to be more conversant with big-tent rock music, he does that with simple aplomb, as on “No Way Down” and the unimaginatively-titled “Simple Song”. And, now and again, he can strike gorgeous and unexpected note, hearkening back to very different eras and scenes: the Hawaiian folk of “September”, with its hauntingly beautiful couplets; the title-track, woozy and vanitas-laden. Throughout, Mercer brings his A-game to the lyrics, which poke around in the supposedly placid waters maturity brings; the key lines come right at the album’s close, Mercer conceding: “I know my place amongst the creatures in the pageant / And there are flowers in the garbage / And a skull under your curls.” (→full review here)
Chromatics, Kill For Love. The best thing to do with an album this long and pondering and self-important and lustrous is to let it wash over you. Is it truly numinous, or just convinced of that quality? Over such a running time, answering that question is of nugatory benefit. Far wiser to submit to Johnny Jewel’s nighttime drive through a future-noirish city, rustling with sleaze and bristling with teenage escapism. There are a few interstitial passages that, in lesser hands, would have sounded turgid. Instead, they provide a framework for the less Tramadol-flavoured songs to cling to. Everywhere, as the opening track (itself a confident Neil Young cover) attests, there is blackness, punctuated by the need to “burn out” rather than “fad[ing] away”.
Spiritualized, Sweet Heart Sweet Light. Jason Pierce is at death’s door, and he thinks that’s pretty kosher. “In our haste to find a little more from life, we didn’t notice that we’d died,” he explains in “Headin’ For The Top Now”, atop a fuggy concoction of swirling guitars and junkyard organs that’s all his own. Elsewhere, there is acid-fried free-jazz skronk (“I Am What I Am”) and deranged, grandiloquent strings (“Mary”). In its scattershot aesthetics and a central, liturgical devotion to 1960s pop, this must surely rank as the true successor to Ladies And Gentlemen We Are Floating In Space, albeit one informed by experimental chemotherapy treatments rather than devil-may-care recreational drug use. (→full review here)
Beach House, Bloom. Though it moves at a glacial pace, this album’s soul is brazen and wide-eyed. Simple, elegant guitar parts lock with FM chimes, swept over by Santa Ana winds and bedded down by ostinato bass parts. The songs are interrelated and familiar, but not gratingly so. The universal tales of yearning and mystery and adventure are stretched out into an eternity courtesy of Victoria Legrand’s inimitable phrasing.
Hot Chip, In Our Heads. The responsibilities of family cross paths with the hedonistic desire to submit to the dance-floor. We’ve been here before, but now the lyrics are even more print-worthy, and the music is reaching back to a decade (the 1980s) typified by rainbow-coloured synth patches, extended 12″ mixes, and the advent of the compact disc. And somewhere in there, there’s still room for a congas-and-bongos breakdown (“Don’t Deny Your Heart”). (→full review here)
Dirty Projectors, Swing Lo Magellan. Everyone seems to think until now, Dirty Projectors’ discography has been a relentless tale of unnerving complexity, off-putting thematic abstraction, and supreme self-consciousness. Not so. 2009’s Bitte Orca tread similarly sweet and tender ground to this new album, albeit with the odd splurge of musical explosion. Here, there is yet more simplification of Dave Longstreth’s art, evinced most notably on the single, “Gun Has No Trigger”, an exercise in minimalism far removed from the band’s earlier works. Elsewhere, there is a smattering of politics, of social commentary, but, in the main, there’s love in the air (“Dance For You”, “Impregnable Question”). Of course there are knowing glances and playfulness that may be misconstrued as pretension (as on the opener, “Offspring Are Blank”), but this album represents a further softening of the Dirty Projectors brand.
Four Tet, Pink. Not intentionally an album, but winds up feeling like one. Limber out of the blocks (“Locked”), grapples with ambient textures in both halves “Jupiters”, “Peace For Earth”), rises to the occasion for a stone-cold fidgety classic (“Pyramid”), and glides back onto the landing strip with sure-footed jazzy piano and restless, wide-open bass (“Pinnacles”). Kieran Hebden’s amalgamation of all the lessons he’s learnt in his long career is an exciting, excitable ride. (→full review here)
Grizzly Bear, Shields. Even on their last album they knew how to explode. Then, it was a weapon deployed sparingly; here they blossom into a million fragments of colour and guitar and shrapnel and keyboard flourishes. The songs are epic in construction and evocative in their imagery. No-one could accuse them of being delicate shrinking violets on this showing: Shields aims for the bleachers whilst never losing sight of intricacy.
Flying Lotus, Until The Quiet Comes. In places more subdued than Cosmogramma; elsewhere, more badass. Like Noah Lennox demonstrated on last year’s Tomboy, bring a little more subtlety and variation to the party a) suggests you’re far, far ahead of the game, and b) doesn’t have to kill said party. This album is one for headphones and nighttime and bleeding your heart out.
Tame Impala, Lonerism. Looks backwards to psychedelia and forwards to the electronic producer’s mixing desk. You know you’re dealing with an auteur when the album’s sequencing defies convention and comes off the better for it. Tortured in its gestation, it sounds, inevitably, effortless. The tone is breezy whilst the lyrical content is anything but. You can play it by the pool, but listen too closely to the tossed-off expressions of isolation and existential crisis and you might not want to come out of the water. (→full article here)
Bat For Lashes, The Haunted Man. Overrated in some quarters. But for much of its duration, this album reveals Natasha Khan to be a supreme seamstress of songs even when working with a narrower palette of instruments to her usual junkshop approach. Her voice soars and whimpers and grasps like she’s truly living the stories she’s telling; behind her, bass tones plumb subliminal depths, and piano curios make her sound like she’s a lounge singer for the end of the universe. (→full review here)
This list is in no way exhaustive. Here are some albums I wish I had got round to hearing this year:
- Japandroids, Celebration Rock
- The Men, Open Your Heart
- Swans, The Seer
- Godspeed You! Black Emperor, Allelujah! Don’t Bend! Ascend!
- Andy Stott, Luxury Problems
- Lambchop, Mr. M
- Actress, R.I.P.
- Jessie Ware, Devotion
- Grimes, Visions
- Jam City, Classical Curves
- Fiona Apple, The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do
- Lotus Plaza, Spooky Action At A Distance
- Julia Holter, Ekstasis
- How To Dress Well, Total Loss
So I guess that cues me up nicely for 2013. And, just for the record, I’m fairly certain the best two songs I heard all year were Frank Ocean’s “Pyramids” and TNGHT’s “Higher Ground“. In the case of the former song, I only bought channel ORANGE a week ago, so given a bit more time it might well have displaced one of the albums in the baker’s dozen. My bad.
Nothing divides opinion like prog. Some lap it up; others despise it; few just “tolerate” it. Field Music, which is a distinctly average name for the partnership of David and Peter Brewis, are often mistaken for prog, but this doesn’t quite hit the mark: prog is dogged, and riffs on the same theme for an extended period of time before veering into a new and sometimes unexciting direction. Field Music may explore a diverse range of instruments and textures and genres in their work but, by contrast, they are restless, skitting from sound to sound like schoolboys let loose in a sweetshop.
The Brewis brothers, who are Sunderland natives and wear their small-town heritage proudly on their sleeves, last released an LP in 2010: Field Music (Measure) was an expansive double album with a second half heavy on bucolic ambience which was sui generis compared with their previous work. The first half was at once more familiar, but also steeped in the shock of the new—more swagger in the guitars on “Each Time Is A New Time”, more seduction in the Princely funk of “Let’s Write A Book”. It was weird, didn’t really work in a live setting, and I loved it.
Seventy minutes versus thirty-five. That’s the first thing that hits you when you look at …Measure’s follow-up, the obtusely titled Plumb. This new release is half the size but bristles with energy, engaging with snippets of moods and scenes across its fifteen songs, which run the gamut between forty-second interludes to three-minute pocket epics. Field Music refuse to settle, as evidenced by their inter-album transformations, and also by the intra-album prevarication which typifies Plumb.
“I want a different idea of what / Better can be that / Doesn’t necessitate having more useless / Shit.”
Lyrically, they’re certainly on more well-worn terrain, exploring the minutiæ of drizzly, transport-laden, indecisive England. There are lyrical sighs on this album which could power entire episodes of Countdown, Antiques Roadshow or Look East. Love is always unrequited, and any anger (“My generation are opting out of choosing sides”, from “Choosing Sides”, is at once fed-up and wistful) quickly dissipates into a wave of deference.
But one mistakes this cosiness for inertia at one’s peril: thematically, there is definite progression from previous Field Music releases. For example, the questioning song-titles (“Who’ll Pay The Bills?”, “Is This The Picture?”, “How Many More Times?”) speak of generational dissatisfaction and a sadness at the age of austerity. It’s not a universal proclamation that “Modern life is rubbish”—in fact, the brothers’ view of society is far more nuanced, and tinged with pleasant anecdotes.
The social commentary may put Plumb in the realm of Gang of Four and XTC, but the scope of styles, tempos, time signatures and textures skated over evades comparison. Compositionally, the album is frequently dazzling and broad. To consider just one exotic pairing, the rousing and punkish final track, “(I Keep Thinking Abou) A New Thing” is preceded by three minutes of bruised krautrock, “Just Like Everyone Else”. Elsewhere, we find homemade found sounds competing against crisp and intricate beats (as in “A New Town”—see top of article) and, in general, there is a great deal more variety than the electric piano fallback of old. The sweetshop analogy rings true, with assiduous selections of stringed instruments, obscure keyboards, and the occasional mournful tuba.
There are also moments of supreme tenderness—as in “A Prelude to Pilgrim Street”, which could have soundtracked one of those awkward scenes in Tomas Alfredson’s Tinker Tailor Soldier Spy, and the stately”So Long Then”—which is not an emotion associated with either post-punk or prog. But tenderness does lie at the heart of what Field Music are really about: sweet pop music, refracted into a thousand disparate pieces.
Duffers are harder to ignore in a thirty-five minute song-cycle, compared with the odyssey that was Field Music (Measure): “From Hide And Seek to Heartache” quickly wears on the listener, for one. But this remains an album of understated brilliance; seldom showy, there is always a treat of a three-part vocal harmony or an elegant string arrangement just around the corner. It might be an album that you initially admire, and eventually love. How long that journey takes is probably an English settlement.
- Choosing which side of the plumb-line (misplacedswag.wordpress.com)
- Becker’s band of Brewis brothers (misplacedswag.wordpress.com)
- ‘We earn five grand a year’ (guardian.co.uk)
Plumb by Field Music was released on 13th February 2012 by Memphis Industries.
My internal jury is still out on Field Music‘s new album, Plumb, but I can confirm it contains at least moments of brilliance. Presenting my first pieces of evidence: “A New Town” and “Choosing Sides“, which come in a third of the way through what is an extremely economical but fidgety LP (preview the whole thing here, thanks to NPR Music).
“A New Town” presents with us the band at its most complex. Following a reedy organ intro which sounds like the less disconsolate brother of Radiohead’s “Motion Picture Soundtrack“, we get two rhythm tracks which are panned to the extreme; periodically, watery bubbles stream between the channels. The guitar-work veers between The Durutti Column-style intricacy and St. Vincent’s chunky shredding. There are so many layers it’s a wonder the song doesn’t implode.
Betraying the Brewis brothers’ love of proggy synth-work, “Choosing Sides” begins with a lilting, hey-nonny-no keyboard-driven passage, which then leads into the song proper. There are acoustic guitars redolent of prime-time Fleetwood Mac, the drums are crisp and intricate, and the vocal harmonies are as distinguished as ever. And then, before you get too comfortable, in the final minute there is a sudden change of time signature and the song does a volte face.
But I have a lingering feeling that the throwback-feel of Plumb, with its numerous shifts in mood and style, might not sit so well with me, in aggregate, as the pastoral-concept double album of Field Music (Measure).
Plumb is released on 13th February 2012 (UK) and 14th February (US), on Memphis Industries.
- Album review: Field Music, Plumb (Memphis Industries) (Richman, S., in The Independent on Sunday, 12 February 2012)
It’s a known fact that I got into Steely Dan through listening to and loving Field Music’s second album, Tones of Town. Criminally underrated at the peak of their powers, Field Music will this month release their fourth album, Plumb—their second since a change of line-up that saw the Brewis brothers augmented by Ian Black and Kevin Dosdale. (You can read my review of this incarnation of Field Music in concert here.)
Nowadays, Field Music sound like a cross between Fleetwood Mac and XTC, but circa Tones of Town there was a delicious interplay between jazz and the baroque in their music, which I recently traced back to a little gem of a song by Steely Dan.
“Through With Buzz”, from 1974’s Pretzel Logic (for a fuller description of that album’s virtues, see here), is a quasi-interlude which sets up the album’s final third. With its crisp piano chords in the first part, yearning strings in the second, and a little foray into Motown in the third, it exemplifies the sophistication in Steely Dan’s arrangements. To see that complexity writ large, listen to its preceding song, “Parker’s Band” (see below).
More to the point, it is flattered by near-emulation in Field Music’s own expository interlude, “A Gap Has Appeared” (see below). The familiar elements are in place: piano-work a lesser listener might compare to Billy Joel; emotive cello; and then a surprisingly vivacious, jazzy drum track.
And that’s how you draw a line from Los Angeles to Tyne & Wear.
This time last year, I bored you all to death with my fifteen favourite albums of 2009. At the time, I suggested my list was not very useful because I had spent much of the year catching up on older music thanks to Spotify.
A year on, plus ça change. A friend told me he was surprised to see Fleetwood Mac extremely high on the list of most-listened to music on Spotify. I told him I was probably the reason behind this.
Nevertheless, for (non)completists’ sake, I shall persist with this probably pointless exercise. It might give you some weird insight into my warped tastes, at least.
Because I don’t wish to look like a slacker, you can also expect me to publish a list with albums I will get round to listening to in the near future. Continue reading Under-informed profligacy – Favourite Albums of 2010
Have I missed you? Greatly. Have I abandoned you depuis longtemps? Too right. Have I been selling my wares on Twitter and Tumblr like a woman of the night? Sadly, yes. Am I back here for good? Let’s hope so.
Enough of the rhetoric. I’ve cherry-picked seven fine albums from the first quarter of this year, and given them a brief bit of spiel extolling my love for them. Oh, and they’re kind of in an order of preference, which, I can assure you, was a challenge.
1. Transference – Spoon. In which the masters of concision pretended to loosen up a little, making a work of carefully considered ragged beauty. From the hesitant organ drone pulsing through opener “Before Destruction”, to the distant, measured funk of “Nobody Gets Me But You”, Transference makes every hyped lo-fi band seem overly amateur in their efforts – Jim Eno and Britt Daniel have laboured night and day to give their latest baby the kind of off-the-cuff aesthetic that only painstaking production can really pull off. Songs end abruptly, mid-phrase; Britt Daniel’s vocals are warped and garbled to heighten our disorientation. It’s an exercise in melancholy as art form.
2. Contra – Vampire Weekend. Gone are the campus tales of fun and frolicking that was the backdrop to my first year at university. In their stead are a range of musically ambitious, lyrically sophisticated compositions that are undoubtedly a bit less fun, but substantially more far-reaching. This, as I wrote previously, is about Ivy League graduates going out into the real world and discovering how out-of-touch they are. It’s there in the wistful, nostalgic tone of “Taxi Cab” and “Diplomat’s Son”; at the same time, Contra also has its fair share of zany pop moments, in the riotous early Police ska-punk of “Cousins” and the typeface-referencing “Holiday”. Contra is probably a superior creation to Vampire Weekend, even if it’s a bit less immediate and catchy.
3. Sisterworld – Liars. Not since their début have Liars made an album so song-focused as this, their self-confessed L.A. record. Sisterworld is sinister and twisted, and boasts the kind of gothic creepiness even Nick Cave shies away from nowadays. It’s scary stuff, especially when frontman Angus Andrew screams “AND THEN KILL THEM ALL!” in the middle of “Scarecrows On A Killer Slant”. Elsewhere, the three-piece explore tight, muscular grooves (which go all motorik on “Proud Evolution”), and then suddenly veer into hazy near-instrumentals like “Drip”. Sisterworld reminds me of a more focused cousin of Deerhunter’s excellent Microcastle, albeit with the shoegazey moments being interspersed more evenly through the record, as opposed to being clumped together in the middle. Throughout, Liars display their usual dark humour that can make the listener wince, and then grin with wild, untamed delight.
4. Plastic Beach – Gorillaz. Possibly the finest Gorillaz album yet – though Demon Days set the bar very high last time round. The tenuous narrative arc is now quite removed from the music (preferring instead to manifest itself through the packaging, the online experience, and every other marketing avenue Albarn/Hewlett/EMI can explore), and the songs are probably all the better for it. Albarn hasn’t made such a startling variety of great pop music for a very long time – at least, not in one single artistic endeavour – and the breadth and depth of Plastic Beach is startling. On “White Flag”, he crosses extremely authentic Arabic orchestral arrangements with 8-bit grime; standout track “Sweepstakes” pits a multi-tracked Mos Def against polyrhythmic vibes and brass. You couldn’t make this stuff up. The only real mis-step is on 80s-synth-pop-by-numbers “On Melancholy Hill”, but even this has its charms, I suppose. The jury’s out on whether Plastic Beach does better when Albarn sings, or when he gets his Rolodex out. For me, I think the two sides of Gorillaz’ craft are now so utterly complete that it doesn’t really matter. This is the kind of intelligent pop music that reassures the chequebooks of EMI bigwigs, and also appeases music critics who were a bit suspicious of Albarn’s doubtless artistic largesse. I’ve said this a lot, but he’s a true polymath, and the proof is plain to see on Plastic Beach.
5. One Life Stand – Hot Chip. One criticism levelled at this fourth album from the south London electro-geeks is that it’s too saccharine; too lovestruck. To me, that’s a strength, not a failing. Yes, the in-jokes were dead funny on their previous three albums (“I’m sick of motherfuckers tryna tell me that they’re down with Prince” was one particularly witty lyric), but this time round, Hot Chip have finally realised that they are the true inheritors of our long heritage of great songwriters – to the list that includes Paul McCartney and Robert Wyatt, we can now append the names Joe Goddard and Alexis Taylor. One Life Stand is built around a middle triplet of songs that are, yes, slushy, but that shouldn’t take away from their undoubted beauty and heartfelt emotion. They write great love songs, and they just so happen to perform them with predominantly electronic instruments. Why should that be so irreconcilable? And why don’t more bands use steel drums to such great effect?!
6. There Is Love In You – Four Tet. Not an album of dance music per se, but certainly an album of music you can tap your feet to, and swivel about in your office chair. The last album I said that about was Battles’ Mirrored, and indeed, Kieran Hebden’s long-awaited fifth LP shares with that album a sense of playfulness and joy at the primal essence of being alive, and connected to technology in a totally organic way. There Is Love In You practically bounces through your headphones, so enraptured is it with the thrill of existence.
7. Field Music (Measure) – Field Music. If you go on hiatus because you feel your music probably has too limited an audience, it’s generally considered surprising to return with a 70-minute double album that decants late period Fleetwood Mac, Led Zeppelin and Steely Dan into a heady cocktail. Nonetheless, this is what the brothers Brewis have chosen to do, and, happily Measure just about pulls it off, bearing testament to their vaulting ambition and artistic integrity. There are definitely weaker bits (the final quarter is overly bucolic and pastoral, if I’m being picky), but when Field Music shift into the correct gear on Measure, they really are at the top of their (admittedly niche) game. Songs like “All You’d Ever Need To Say” and “The Wheels Are In Place” are taut and structurally complex, and yet still fit into miraculously brief passages of time. The musicianship is unparalleled, the vocal harmonies are typically glistening, and it’s wonderful to have them back.
Yes, I realise my activity on the blog has been minimal in the last week or so – my apologies. It’s been election season at university, meaning most of my time has been occupied with newspaper stuff and not much else.
Luckily, there’s only a week and a bit till the Easter holidays, so expect very soon some mumbled verbiage on the subject of:
Gorillaz – Plastic Beach
Shy Child – Liquid Love
Field Music – Field Music (Measure)
Liars – Sisterworld
Foals – “Spanish Sahara”
and maybe some other sonic goodness too.
The Brewis brothers are clearly extremely gifted musicians, who write songs (under the banner of Field Music) which are intricately arranged, structurally complex, and traditionally evoke XTC, Steely Dan and the Beach Boys. None of this makes their music particularly easy to love – though their Geordie voices are thick with region, they rarely let their emotional guards down, hence why some critics have labelled their music cold and mechanical and knowingly tricksy.
None of this can prepare me for witnessing them live – an environment which accentuates their flaws as well as their virtues. Augmented by Ian Black and Kevin Dosdale on bass and guitar respectively, the band launch into Tones of Town opener, “Give It Lose It Take It” amidst found sound, glockenspiels, rousing piano and thoroughly excellent drumming. For a few songs at least, the playfulness is plain to see, and the predominantly Sunderland-bookish crowd rewards them with a whole lotta love.
When the band cut to newer material, taken from the recent Field Music (Measure) double-album, the response is notably muted, because the band have to an extent abandoned the bucolic textures of their earlier work, in favour of a more guitar-based aesthetic that owes much more to Led Zeppelin, Fleetwood Mac and, on occasion, Queen. However, bereft of the intense personality bestowed upon these progenitors, the songs sound strangely lurching and mathematical. Though Field Music are, individually, some of the funniest, warmest and most virtuosic musicians, the sum is sadly less than its constituent parts.
All the more infuriating is just how playful and quick-witted the band seem in between songs, where they deal with all manner of obstacles, from troublesome electricals to the bassist’s Hawaiian shirt. The Prince-meets-Sunderland funk of “Let’s Write A Book” is very much the exception to this disappointing revelation – for once, the groove is remarkably simple, and it evinces the band’s personality. For the middle chunk of the performance, songs like “Something Familiar” and “Each Time Is A New Time” are dispatched with maximum skill (replete with tasteful bluesy guitar licks) but less-than satisfactory enjoyment.
I have really loved Field Music for far too long, championing them to my friends when their chips were down. Now, after a three-year hiatus, I find it hard to empathise with their new direction which, though on record comes across as lovingly crafted and “makes sense”, doesn’t work that well on stage. Though the band pad out the pure Field Music work with excerpts from their solo albums, I left with mixed opinions of a band who I thought I had really figured out.
Back in 2007, I got very very obsessed with the sophomore album from Sunderland’s Field Music, a 30-minute progressive punk art rock odyssey into the mundanity of small-town life. In borrowing the least lifestyle elements of Steely Dan and fusing them to a jerkiness that recalled Wire, the then-trio (comprised of the two brothers Brewis, and their friend Andrew Moore) created a masterpiece that provided concise chunks of song that packed in a multitude of musical ideas – from Billy Joel-esque piano, to crisp beatboxing. Tones of Town was magnificent, and its lack of fame was nigh-upon criminal. When the band announced they were going on hiatus, I practically cried myself to sleep.
Well now, via several intriguing side projects, they’re back. And in a more expansive mood, clearly, because their forthcoming third album, entitled Field Music (Measure), is a double album, with twenty songs that aren’t afraid to be less cohesive, in a manner apparently styled after Tusk and The Beatles. Predictably, I’m very excited, especially since the band (now a four piece, sans Moore) are whetting our appetites with two choice cuts from the album.
The first, “Each Time Is A New Time”, cruises in on a liquid bassline and some pretty FM-rock guitar, backed up by typically intricate drumming. When the vocals come in, the way they harmonise and interlock is sophisticated and aurally pleasing. Halfway through, the song cuts to a stripped-down passage that builds back up with insistently mellifluous guitar figures, wordless chanting and military percussion, before breaking straight back to the original riff. And then, in true Field Music style, it’s over.
The second sample, the title track, “Measure”, explodes from a suitably baroque string arrangement into a clanging, rustling, piano-led groove. The band has not lost its knack of combining the ancient with the modern, as the vocal interplay and hand claps (which sit alongside the strings, and some very steely guitar) will testify. The mood is wistful and meandering, interspersed with occasional shouts that recall Steely Dan and Fleetwood Mac. As the song fades out to looped strings and a thrumming beat, I can’t help but feel a wave of relief that the band has stretched away from the brilliant style they had previously perfected, in order to explore new ground.
Both songs are little gems, and, wonderfully, both are available for free, from the band’s charming website. Field Music (Measure) is released 16th February 2010, on Memphis Industries, and promises to be one of the year’s most intriguing albums, not only in terms of scope and scale, but also in terms of the fascinating, filigree-like music it will contain.