anticipate The Field - Yesterday and Today

or have its lustrous synth waves and kick-boom grooves echoed in your headscape already?

i will anticipate

has there been a single yet?

i too will anticipate

i dont remember too much of the first album except that i liked it and i liked this one song "silence" a lot. i'm sure there were better songs tho.

shit man anticipatin over here 4 real

I am anticipating this - The Field strike me as the sort of act who could go from 'quite good' to 'absolutely amazing' between the first and second albums.

New track up on Pitchfork
http://pitchfork.com/news/35152-premiere-the-field-the-more-that-i-do-mp3stream/

Strange vibe, harsher than before. Not an immediate hit with me but will still anticipatin' the album.

Oooh @ steel drums in the fade!

me talk pretty one day

reminds me a lot of that "silent" song i mentioned before

fuck with this

quite nice seeing as its just an album track, hes maintained his original sound. im always a bit cringey when guys like this abandon tyhe laptops and i managed to miss his live act at 2 festivals last year so its a pleasant surprise. bit like DFA went all trancey boom boys down beefa

like it. my thing w/ the field is that i don't think he ever really did anything as good and blissed out as 'kappsta' from pop ambient 2007. his album was decent enough tho and this track is alright

as someone who was a trance geek for a year or two in high school i'm actually digging this tune a lot now. i thought his tracks often ran out of ideas in after the first couple of minutes - i never saw a reason why a lot of them were upwards of 6 or 7 minutes - but the length works a lot better here

thats what nade me think of DFA, theres lots of nice little embellishments to a lovely loop

loving the single and the remixes by Thomas Feldman and Foals.
so curios about the new album!

*Fehlmann

the single is great in a way that makes me thing this will be really really great

The album has leaked

ty

Like the sound of this new track. Anyone know if it is with a band, or whether a real drum kit was used (as when I saw him live). It sounds a lot more full and rich than before. Samples the Cocteau Twins, right?

Admittedly, I'm still confused at how long, repetive, very trancey, and uptempo 4/4 music (which for me was a very slow grower - I seem to remember thinking Over the Ice was the worst track I'd ever heard when I first heard it) became so beloved by the pitchfork crowd (and became one of the most overhyped electronic albums of the last however many years).

I'm still confused at how long, repetive, very trancey, and uptempo 4/4 music became so beloved by the pitchfork crowd

lots of young people working at computers all day like long repetitive very trancey uptempo 4/4 music i think?

John Stanier from Helmet/Battles plays the drums on it as far as i know

oh shit

i am actually more excited than i already was

Correction: It seems Stanier only plays on the title track.

On first impression the Korgis cover would be better without the vocals

omg this is fucking awesome.

The obviously John Stanier live-drums on title track don't come in until the outro when he plays along with a nice little bass line. Sweet.

Seems to be worrying more about sound design. Drums are less simplistic, sounds very fieldy but without it just being him doing his old trick again, samples are less obvious, tracks are more dense, less minimalistic, while still being plenty minimalistic. More prettified, little twinkling melodies and stuff.

It's got a "sunnier" feel to it i reckon

Xpost: that sounds very promising, especially since the boring drums and weak sound design were one thing I didn't care for with FHWGS.

this is amazing on first listen, it's going to be perfect for summer nights in 2009.

i was not feelin' the track pfork put up, but i am anticipating this anyway

Also anticipating muchly. He absolutely killed it live in Dublin a couple of months ago. Pure bliss.

lots of young people working at computers all day like long repetitive very trancey uptempo 4/4 music i think?

*raises hand*

yeah, this jsut got sent to me. not bad on first listen, though i will never love this guy as much as some do-- a little too poppy for my tastes. but yeah, this is gonna be great on summer nights.

I've now revised my opinion and believe The Field to be a One and A Half Trick Pony.

that said, i also think that everyone who loves this should love the Meanderthals album a lot more.

cosign that Meanderthals love. I'm listening to it more than the Lindstrom/Prins Thomas album.

i was not feelin' the track pfork put up, but i am anticipating this anyway

Was starting to think I was the only one. I guess it might grow on me still, but this doesn't seem to have any of the magic of the best stuff on his debut. Eager to hear the rest of the album.

I'm still confused at how long, repetive, very trancey, and uptempo 4/4 music became so beloved by the pitchfork crowd

lots of young people working at computers all day like long repetitive very trancey uptempo 4/4 music i think?

― I'm not some HOOS for someone's lust to snack on! (BIG HOOS aka the steendriver), Wednesday, May 6, 2009 1:15 AM (17 hours ago)

This somewhat avoids looking at why this particular album got snatched out of nowhere to be embraced so wholeheartedly by an audience it wasn't originally targeted at. Certain things like the reputation of Kompakt I think have a lot of purchase outside of dance or minimal or techno or whatever circles, but then Kompakt put out a lot of records and my last listen to the last Ambient/Pop left the impression that a lot of it sounded kinda similar. I think a big punctum within this album, and something that got a lot of attention were two moments, the part in Sun and Ice where the software breaks down, and the bit in the title track where the CD kinda unskips and the Flamingoes sample is just let play. I think these two moments worked as really good points of entries to an indie audience because they're striking enough to draw attention to themselves firstly, and then as flashes that illuminate the sort of inner logic of the album in a way that parallels a typically indie aesthetic (ie, that of remaking the present from a remodelled past)

At the same time its not exactly and indie dance record, if fits very neatly into a particular aesthetic, but there's just enough rupture that indie listeners who mightn't exactly be immersed in the formal landscape of dance music can hook onto to start to unravel the language of it, like all genres there's a level of codification so that sometimes things that are playful or innovative might not be accessible to someone who doesn't really listen to a lot of the stuff, I'm not saying that's what this is, whether its good or bad isn't something I'm really thinking about with FHWGS atm, what I'm thinking about is what exactly is crossoverable about it in partic. Anyone else have any ideas because this is something in general I am thinking is interesting lately, not just how it applies to this album, but I do think this album is an unusually striking example of the kind of thing I'm thinking about.

tl;dr

I am a corny indie fuck and my point of entry was the Fleetwood Mac sample.

yeah, but I kinda think without that bit where it all breaks down, the samples in this are really hard to parse, the title track is kindof a codebreaker for this album imo, and also, that's kindof an indie way of enjoying so that those little bits where the vocals bubble up to the surface are so tantalising, but in a different kindof suspense/release to what I normally expect from MNML, is that fair to say?

cosign that Meanderthals love. I'm listening to it more than the Lindstrom/Prins Thomas album.

― brotherlovesdub, Wednesday, May 6, 2009 3:23 PM (2 hours ago) Bookmark Suggest Ban Permalink

cosign this, the meanderthals album is so so nice!

i'll give this a listen but i'm def baffled at why the field, of all the possible kompakt (or even...general german techno) artists releasing albums that year, got picked up by the crossover crowd. FHWGS didn't impress me at all - actually towards the lower end of the mass of ok-ish techno albums w/ nothing particularly memorable or special about them that come out all the time.

^^haha, this helps prove my point a little I think

fucking loving "sequence"

that's kindof an indie way of enjoying so that those little bits where the vocals bubble up to the surface are so tantalising, but in a different kindof suspense/release to what I normally expect from MNML, is that fair to say?

There's a part about 2:30 into "Everyday" that's a great example of this too, I think. Where the sample kinda rewinds and a new little choppy hook comes in, that's always been the most memorable part of the album for me.

hadn't read IKR's posts before i posted (an xpost) but that might explain it - you've also pinpointed a few of the things that i find most annoying about it. the big dealbreaker for me was that the overall sound was so thin and unvaried and also BASSLESS - it really grated after a while.

really pisses me off to think that some really classy albums w/what i'd think was crossover potential from that FHWGS year, like mia's bittersüss, got totally overlooked while this stormed over to difft audiences.

*classy techno albums

Yeah, it was kindof your original dislike of that album on the original thread that got me thinking about it that way, lex.

it's also one of the worst things i've heard on kompakt!

then again i can't think of many crossover tracks/albums/artists from any genre that i've approved of (unless the genre is already mainstream), so i guess i just dislike whatever those crossover qualities are.

the Mac sample is not the reason i like the album, but it is the reason i heard it.

meanderthals being mentioned here is weird. Decent album, but not really anything like this.

ok i didn't know there was a song called 'i have the moon, you have the internet'. i don't think i want to hear this any more

yeah i thought i was looking at a fake tracklist

then again song titles are basically meaningless w/ this kinda stuff - it's not like there's gonna be a chorus of a guy going "i have the moooooooon/ yoooooooooouu, baby, only have the internneeett"

yeah i know that's what galls the most. you can call a track anything you want and you choose 'i have the moon, you have the internet'? something is messed up with your aesthetics there

lol thats true

lex i think you would not hate this

Bittersuss? Crossover? Are you insane?

then again song titles are basically meaningless w/ this kinda stuff - it's not like there's gonna be a chorus of a guy going "i have the moooooooon/ yoooooooooouu, baby, only have the internneeett"

Actually that would be kind of awesome. I like it more as a crowing song title than a mimsy song title.

1- i have the moon, you have the internet=== i want to sing this at karaoke. like switch around some sinatra lyrics.

2- jim, i simply mentioned it because REALLY, that should be the big crossover summer jam album, not this new Field record. everyone i play Desire Lines for is just 'gah, let's get stoned and go to the beach'

much like the lindstrom record, this makes me want to smoke so much w33d

lindstrom & prins still my favourite album of the year.

Bittersuss? Crossover? Are you insane?

i genuinely don't hear what makes it un-crossover esp in relation to the field! beautiful melodies, pristine beats, VOCALS...it was a lot more immediate for me, too.

i think my fave has to be Desire Lines thus far, but only because there haven't been too many 'albums' by artists i really dig out--- tho once the hieroglyphic being record arrives at my doorstep, i'm sure that'll win it, at least thus far.

also, oddly enough, after a summer of blasting the Lindstrom album all the time-- even interviewing him-- i think i burnt myself out on anything he touches...once again...

I dunno Lex, Bittersuss is really icy and I found it quite hard-going in places, the good bits were great but I didn't want to listen through the whole thing. The first half of ...Sublime just wants to be your friend - it's so much more accessible.

I am currently listening to Jesse Somfay's new album, A Catch In The Voice and it's just impossibly pretty so far. If the new Field album is better than this I will be absolutely overjoyed.

I Know Right?: (first of all I love the fact you used 'punctum' in your post), that's a really interesting point re: the breakdown in the title track. I think one think that might be especially telling, but still subtle about the album is the way that it, as it were, shows its construction. Rather than the solidity of contemporary techno, which is so careful and precise in its sound design and composition that for your guitar-bass-drums pitchfork kid it becomes almost impenetrable to access. On the other hand, you can hear the process in The Field's tracks, hear him sampling records, looping them (cf. people who complain about people standing still on stage with a laptop but don't complain about people standing still on stage with guitars, since the back of a laptop doesn't satify the desire to see what you hear). The breakdown in FHWGS is like a stripping bare, which I imagine a lot of technophobes might see as kind of earnest?

Although if you ask me something like This Bliss is deserving of the attention The Field got, which is something considering how much more listener friendly it is.

elephant in room: from here we go sublime wasn't actually that 'dance'.

i mean, tape loop-style experimentation + not too many beats to scare away the danceophobes + kompakt seal of approval = 'crossover'.

True, true. Also, when this came out was around the time I was most engaged with minimal techno and all, and was in a very one track mind mode of approaching music, so much so I suspect that I would have liked the album far more had I heard it at the time I was getting into electronic music but was still ambivalent about techno.

listened to this a couple times today...and while it is quite pretty, i can't get over how this guy is building his name on doing some pretty simple shit with loops. if i had a better sampler and a nicer synth set-up, i could whip this shit out in a day-- most of us could, i think.

"Everybody's Got to Learn Sometime" samples "Africa" - y/n?

that's part of why i like it

x-post

I like how each track on the new Field album tweaks his formula slightly, but each in a completely different way.

listened to this a couple times today...and while it is quite pretty, i can't get over how this guy is building his name on doing some pretty simple shit with loops.

can't help but to agree w/ this. i'll give the new one a listen for sure but FHWGS was kind of one-trick pony, i dunno. i could listen to one or two songs at a time and think it was alright, but i don't think there was a single instance that i made it longer than 3 tracks before thinking that it was kind of weak.

i mean, gas albums aren't terribly complicated either w/ the loops and all but voigt gets across like 100x the amount of depth that willner does. even the 'pretty' tracks voigt just does so much better. i don't know if gas is the right comparison, but i guess that's what comes to mind since willner claims it as his biggest influence and he's on kompakt and all...

^^totally otm

overall sound was so thin and unvaried and also BASSLESS

^^totally otm

Haha there's no point trying to dress it up, the crossover element here is TWEE. I'm quite liking this, not as much as the Somfay which really is amazing (maybe its the This Bliss to this record's Sublime) but it's good spring morning music nonetheless.

I think maybe The Field make a bit more sense this time because we've had a Balearic revival since the last one came out. While its better than the Meanderthals (which reminds me of too much late 90s monging music for me to love) they've gone more for the route one fuzzy pastoralism of someone like Air France. It's still all ooh tinkly windchimes really but very enjoyable nonetheless.

I wrote that when I was only halfway through the record, and it got really great almost immediately after that. I'd expected it to carry on pretty much in the same vein and then halfway through the title track it morphed into a more live-sounding groove, and then he started whipping out muddy bass guitar and stadium drums and it all turned into a psychedelic rock record.

Sequenced is an amazing closer.

I like the Field and hate twee tho

Most of the reasons given for FHWGS crossover here could more or less be also said about a lot of the pop/ambient Kompakt stuff, but yet most of this stuff is only celebrated in the abstract "Oh, Kompakt is cool" sense within the indie press at least, this got real acclaim, and I'm just trying to figure out what causes such a contrast in acclaim. This never fueled the typical scene raiding that the indie press are known for, this seemed like a weird selection riding high on end of year lists.

i wanna clarify that my issue with the field isn't the whooshy dreamy spring haze aesthetic he's going for (which...isn't a million miles from the whole border community thing that we discussed recently when kate bumped their thread - indeed jesse somfay cropped up there too iirc) - it's the execution. i mean, techno artists often work w/a limited palette due to the nature of the genre, but the field is particularly simplistic and insubstantial.

really should listen to the new album in case it's, like, good or anything - three times now my finger has hovered over the play button though, but i just get a pavlovian reaction to that opening title.

matt i was agreeing with your first post while listening to the first half of the title track and then i read your second post and the transition you describe happened as i read it and it kind of freaked me out

Btw I really like FHWTS so I'm holding off hearing the new one while I relisten, but I should listen to it before I let it get overhyped in my estimations.

The More That I Do basically sounds like Over the Ice and that makes me really happy

The production and sound design is much better on this album Lex (apart maybe from the first track). I think the transition that takes place throughout the album (from fluffy droney digital to more bass-led and rhythmic and organic-sounding) highlights that a lot of the aesthetic/production decisions he makes are very conscious and deliberate. It's not like he's trying to make a Superpitcher-esque club track and failing.

listening now. at least i'm never going to have to play 'i have the moon, you have the internet' again.

qn for people feeling the field: do you think indie crossover records are better than those which for whatever reason don't find an audience beyond their genre? i'm not hearing all these obvious reasons that the field, of all people, got crit acclaim, but while i'm not hating on this, it really really doesn't stand out at all from any other techno album. at all.

oh wait 'everybody's got to learn sometime' actually sounds like an indie record! aargh pathetic mimsy boy vocals. this has gotten v terrible v suddenly.

thinness starting to grate. this is like a less good version of the nathan fake album which wasn't all that amazing itself.

omg that fucking skippy skippy "trick"! fuck off with that, seriously

this sounds exactly like FHWGS so far btw, ie BORIIIIIIING

do you think indie crossover records are better than those which for whatever reason don't find an audience beyond their genre?

Do we have to have this discussion again?

well, you don't, but i'm still interested in it, especially after listening to that incredibly boring album

I mean to say "what do you think is special about this that I'm not getting?" is a much more interesting line of enquiry than "do you think indie crossover records are better?" (implication = "people only like this because they are indie and have dubious taste").

The former seems like it might at least illuminate something, the latter seems like the road to yet another iteration of the 2003 Outkast thread. It's also a bit of a red herring seeing as there are very few people on this thread who don't have a pre-existing interest in dance music.

Props to Matt DC for alerting me to that Jesse Somfay record. It's lovely.

I was actually listening to it while reading this thread and thinking why something like that isn't in the field's place, which sonically would make a lot more sense (especially as Jesse has made some very Field-esque stuff in the last while). If this got picked up by Kompakt it could do a lot of damage.

Somfay a bit too dancey no?

n.b. i've not heard the new one yet.

It's even less concerned with dancing than The Field album - it's an ambient record really.

i'm just about finished listening to it for the first time. It's not at all immediate, not particularly melodic, ambient as Matt says. Nice, but about as much crossover potential as Bittersüss I'm afraid.

fav. track is "Borrealis".

just to fuck with people's headz a lil bit, here's a Pal Joey track from '93 that gave me shades of The Field the other day...

man, that's a lovely record.

I like this much better than the debut (which I thought was very pleasant, if insubstantial). There's more to this, I think.

Had a look at Boomkat and there's no mention of a CD release; anyone know any better?

http://www.play.com/Music/CD/4-/9623157/Yesterday-And-Today/Product.html?source=5061&engine=froogle_music&keyword=The+Field+-+Yesterday+And+Today

Yes, my friend was holding his copy on Monday and anticipating going home and listening to it. NB he works in a record shop so if this isn't actually released yet, that might explain that.

I think I like this album, on my two listens to date, but haven't had a chance to return to it since this thread got going

Wickedness.

Last 3 minutes of last track = oh wow beautiful.

the first two songs are astonishing. between this and the tortoise album (how field is "gigantes"?) they'd have the best double album ever

Am I only the only one here who thinks The Field is a you-heard-one-you've-heard-it-all artist? His heavy looping technique was already tired after the first album. I can't stand "The More That I Do" for more than a minute.

TS: The Field's one trick vs. Burial's one trick

and what's with that constant bass drum pulse on Gas songs, jeez

Plus that constant cymbal tapping in jazz

srsly though, ride cymbal nearly killed jazz for me.

Chubby Checker and the twist.

miles davis and his fucking trumpet

What I wrote on another board about this:

This is just... better. In every way. Rhythms are better, the banks of synths are better, the tunes are better, it's more emotional, each song has more ideas, the use of real instruments gives it an added dimension, he builds and layers grooves more convincingly than before. It holds my attention way better. The drums & bass at the end of the title track are awesome (that's Stanier, right?). And Sequenced! Oh fucking my! It's like Moon Revolutions or Out There Somewhere or something. Amazing. The last three minutes! I wish this album was called From Here We Go Sublime, because this actually does, whereas the first one just hinted.

TS: The Field's one trick vs. Burial's one trick

ahhh, a v apt comparison - the crossover status of both annoys me in pretty much the same way. their entire thing is a rather insubstantial take on techno and dubstep respectively.

Burial I think is shite; the first Field album I think is pleasant. The new Field album = SO MUCH BETTER.

umadd sry

The crossover appeal of The Field is overstated I think (really, does it exist outside a few people on the internet and a good review in Pitchfork?) It's hardly Justice or Simian level crossover we're talking here.

But its appeal to non-techno people of a certain stripe should be totally obvious. In addition to the familiar samples, The Field has a vaguely shoegazery sensibility and an obvious and upfront commitment to prettiness and melody without having to make the listener work too hard for it*. Comparing The Field to other techno (when by and large he doesn't have the slightest intention of making people dance) is missing the point - he fits better with the likes of Ulrich Schnauss and other similarly drippy electronica.

*I think he's different from Burial in this regard in that Burial's crossover appeal seems to be more accident than design.

Also Burial is much less accessible, with the possible exception of Archangel which also happens to be his best track.

Yeah, I'm totally not digging this because it's dance music or techno; it's shoegazey electronic krautrock to me.

The crossover appeal of The Field is overstated I think (really, does it exist outside a few people on the internet and a good review in Pitchfork?)

i'm certain i argued this on another thread back when lex was freaking out over the 'crossover' of the last record, but i can't find it. would it have sold more than, say, 10k copies worldwide? hardly a crossover. i don't really recall, say, 'days of mars' by delia + gavin being called a crossover despite also getting rave reviews, being on a trendy label and (arguably) sharing similar tranced-out aesthetic.

I have yet to mention The Field to anyone irl who has ever heard of him btw

When I played FHWGS to friends last year their reaction was mostly 'booorrrring' so no crossover there.

So I now have a nice CD copy of this. Lovely lovely lovely. The last 3 minutes of Sequenced is my favourite music released this year. So gorgeous. It's that double-tap on the hi-hat, I think. Wow. I wish it went on forever.

People who like/love this should check out Sinner DC's Crystallized album. Never heard of them before but on first hearing I'm quite liking this. 4/4, wonderfully blissed out shoegazy feel, some nice unexpected instrumental touches (eg. brass) in places. Vocals may be a bit too "indie" for some but in the end they didn't really bother me. Think M83+Schnauss.

@Nick: those last three minutes remind me a bit of the more pastoral pieces of Cluster (ie. Sowiesoso-era) - are you familiar with them?

Think M83+Schnauss

Shit! Straight on to my things-to-get list ... ho, Willem, you've done this before, though I can't remember what with. Cheers, man.

I've had some Cluster on my wishlist for AGES, including Sowiesoso...

Wow Willem, that Crystallized album is fucking awesome! Spot on wiht referencing M83 and Schnauss. There's krautrock as well, and 'Anyway' sounds like Superpitcher dreaming. Brilliant, thanks for the recommendation!

this album sucks, and i liked the last one.

Talking The Field here Caek, of that Crystallized one? I can't for whatever reason seem to get into the new The Field one as well. Maybe it's the 'Everybody's gotta learn sometimes' cover. It's so early on as well, and basically is a major let-down for me. I can't seem to get past it, it completely destroys the flow of the album for me.

of=or

the field. i've tried three or four times to get through this album, and every time i just end up thinking i would rather be listening to the first one. maybe it's just that's comfortably familiar, like watching terminator 2, but i think there's something more. i feel like he's trying to do more this time and ends up diluting the effect. this is just an impression from not a lot of time spent with the album tho.

It starts off a bit slow but picks around the mid-part - if anything, I think it's just oddly sequenced - i.e. not putting the best song first, but letting it slowly build up to it.

I think it might be a grower, where the first album was much more of an immediate rush with me.

(I'm not feeling that cover, either. It seems a bit... obvious. One of the delights of the first album was hearing this lovely, warm, fuzzy music - and then hearing the run-outs at the end, where you realise what the sample was, that it was all built around. Doing a straight cover didn't really work for me.)

But that big single, when it finally comes, is SO amazing that it makes up for everything.

And speaking back in time to The Lex (and you never did tell me what else to listen to on Kompakt) - you have to realise that people listen to different things in music, and respond to different things in music. The Field *don't* sound like an OOM-tish OOM-tish bangers thing, they sound fuzzed out and delicate, with driving krautrock bass - it has the aesthetic of dronerock, but created with electronics. What you hate about it is what other people are responding to.

All over this after becoming increasingly enthused by discussion above. I like FHWGS well enough (and more than that if the mood is upon me), and on initial listens this is hitting the spot too. Much more varied, which is good as the first one was a bit linear (partly the point, I know) so the opening up of his sonic palette works really well for me. Current faves are the opener and closers.

Only duff track is Everybody's Got To Learn Sometime, which I cannot honestly see myself ever listening to again; maybe if he'd chosen a song that has not been *totally* played out and sampled to death already I could see the point, but not with this.

I've had some Cluster on my wishlist for AGES, including Sowiesoso...

Yes. You definitely need this album. I can pass along if you'd like, just send an email.

sickmou✧✧✧@gm✧✧✧.c✧✧ please!

sickmouthy at gmail dot com

I liked the last field album but hearing this is like sowieso makes me want to get it right now.

this is not like sowieso.

last 3 minutes of Sequenced does a bit, but that's 3 minutes of one track.

Haha, yes, not like sowieso.

I like the new one, but I'm with caek in my preference for the debut.

I have not heard this, but based on the first one it would have to be majorly majorly different to sound like cluster

Only the last two minutes or so sound a thing like Cluster, and even then, not even that much.

It gets better on repeated listens. I'm trying to not even skip the cover. But I do still think it would have been a much better album without it. There's a lot of prettiness in there waiting to be discovered, when it reveals itself to you.

Though, actually, come to think of it, I had the same experience with Over The Ice - I really didn't get it the first time I heard it (though that might have been the awful video.) But the more I heard it, the more I was all... mmmm, like this.

The More That I Do was a really immediate hit, but I think the rest of the album needs time to sink in.

I didn't even know it was a cover till I read so on here; it doesn't bother me in the slightest. In fact I like the big dramatic pop drum every so often.

haven't heard the album yet but the other night, my local station played the cover and the original right after and the field's version did sound pretty lifeless in comparison.

The vocal is the most off-putting thing, everything inbetween is seriously dreamy.

also, yr local radio station must be way cool.

okay i just listened to the korgis cover and i really loved, if this is the weakest bit of this album I am sold (loved the last one btw)

xpost the show i was listening to sure is - here are their playlists/podcasts.

am i rong that the title track samples kate bush's "the sensual world"?

Just starting my second listen to the album ... I can blow hot and cold on The Field but I genuinely think the Korgis cover might be my favourite thing on here. It's a song I love anyway and I think this is a clever, gorgeous way to do it.

This has really failed to grab me like the first one did. The little steel drum flourishes that appear at the end of tracks 1 and 5 are intriguing, I wish they'd been used to fuller effect.

ledge OTM.

Also: Does anyone find "The More That I Do" slightly annoying? I *love* the source material (Cocteau Twins), but that's precisely why I *don't* like the song. It just sounds like a skipping CT song to me, and I'd much rather just put on Treasure.

Last track on this = best music I've heard all year.

^^ i totally agree.. this is the only song from the album that i keep coming back to again and again

Really, Nick? I'll have to revisit it.

The new Orb album sounds a bunch like The Field. So much so that i'm almost embarrassed for The Orb.

Last track on this = best music I've heard all year.

Oh bother, why'd you skip the third one? It's even better!

better than the first album

more adventurous, more blissful, better production

Cosign.

This is a wonderful album.

I love the captured Liz Frazer too

Techno Gaze. cough

Shit. I'm two years back in the slipstream

http://sickmouthy.com/2013/02/15/the-field-yesterday-and-today-2009/

i still like FHWGS more, but Y&T definitely does not get enough credit. "Sequenced" in particular. It's probably my favorite Field track. along with "Leave It" and "Everday"

Is there really no discussion of this guy post 2013 or did I just fail at searching?

the ilx hype did seem to drop off pretty dramatically at some point, not sure why. I think I revived a thread not too long ago, not sure which one, but the response was mostly crickets. But I still love pretty much every album this dude's released.