Posts Tagged ‘Field Music’

Big news from FMHQ: We’ve accidentally made a new album – it’s called “Making A New World” and it’ll be out for your delectation in January 2020. And…err…it’s pretty much a concept album about the aftermath of the First World War. Wait! Come back! It’s not THAT kind of concept album! Honestly!

The songs grew from a project for the Imperial War Museum and were first performed at their sites in Salford and London in January 2019. The starting point was an image from a 1919 publication on munitions by the US War Department, made using “sound ranging”, a technique that utilised an array of transducers to capture the vibrations of gunfire at the front. These vibrations were displayed on a graph, similar to a seismograph, where the distances between peaks on different lines could be used to pinpoint the location of enemy armaments. This particular image showed the minute leading up to 11am on 11th November 1918, and the minute immediately after. One minute of oppressive, juddering noise and one minute of near-silence. “We imagined the lines from that image continuing across the next hundred years,” says the band’s David Brewis, “and we looked for stories which tied back to specific events from the war or the immediate aftermath. If the original intention might have been to create a mostly instrumental piece, this research forced and inspired a different approach. These were stories itching to be told.

The songs are in a kind of chronological order, starting with the end of the war itself; the uncertainty of heading home in a profoundly altered world (“Coffee or Wine”). Later we hear a song about the work of Dr Harold Gillies (the shimmering ballad, “A Change of Heir”), whose pioneering work on skin grafts for injured servicemen led him, in the 1940s, to perform some of the very first gender reassignment surgeries. We see how the horrors of the war led to the Dada movement and how that artistic reaction was echoed in the extreme performance art of the 60s and 70s (the mathematical head-spin of “A Shot To The Arm”). And then in the funk stomp of Money Is A Memory, we picture an office worker in the German Treasury preparing documents for the final instalment on reparation debts – a payment made in 2010, 91 years after the Treaty of Versailles was signed. A defining, blood-spattered element of 20th century history becomes a humdrum admi nistrative task in a 21st century bureaucracy.

We’ve done songs about ultrasound and about shooting yourself for the sake of art and about gender reassignment surgery and about Becontree housing estate. We’ve even done a party tune about sanitary pads, called Only In A Man’s World, which is now streaming in all of the usual places  (huge thanks to Lauren Laverne and BBC 6 Music for giving it its first airing this morning.) If you want Only in a Man’s World with a side order of facts about the invention of sanitary towels head on over to our YouTube now.

Only In A Man’s World is taken from the new Field Music album “Making a New World”, to be released on 10th January 2020.

Making a New World can be pre-ordered on limited edition signed red transparent vinyl, CD, cassette and download from our shop along with the first ever FIELD MUSIC MUG (which you can dry with the Open Here tea towel). The usual discounted pre-order bundles are available; just look at these beauties:

Tourdates : 9 Nov – Dundee, Neon at Night 01 Feb – Glasgow, Kelvingrove Art Gallery 21 Feb – Nottingham, Rescue Rooms 22 Feb – Leeds, Brudenell Social Club 27 Feb – Whitley Bay, Playhouse 28 Feb – Manchester, Dancehouse 29 Feb – London, EartH

The music of You Tell Me exists in this glorious place where several decades of British pop gently collide. That is to be expected considering the pedigree of the two singer/songwriters at the helm of this project. Peter Brewis is one-half of the flint-edged post-punk group Field Music, and Sarah Hayes has logged time in the glittering indie pop outfit Admiral Fallow and dabbled in traditional folk as a solo artist. Add in the detail that the pair met for the first time at a Kate Bush concert and the sound of You Tell Me may start coming into focus even before you get a chance to listen to their self-titled debut. The pair’s 11-song album weaves in and out of those varied sonic worlds with ease and wide-eyed joy, often grabbing little fragments into a lovely patchwork. Opener “Enough To Notice” layers the dreamy spirit of The Pentangle and their ‘70s psych-folk ilk with bubblegum pop, while “Water Cooler” and “Get Out Of The Room” imagines The Blue Nile’s sophisticated gleam meeting a hearty post-rock rumble.

There is a tendency within the running time of You Tell Me for the duo to maintain their cruising altitude for long stretches when they clearly have the abilities to hit the accelerator and soar. The languid pace that they lend to the majority of the songs here suits them just fine, but put up against the peppier numbers, you may long for a bit more variation.

At the same time, You Tell Me concocts such a spell with their debut that the journey will still delight and intoxicate.

You Tell Me’s debut album out 11th January

Image may contain: 1 person, sky

The music of You Tell Me exists in this glorious place where several decades of British pop gently collide. That is to be expected considering the pedigree of the two singer/songwriters at the helm of this project. Peter Brewis is one-half of the flint-edged post-punk group Field Music, and Sarah Hayes has logged time in the glittering indie pop outfit Admiral Fallow and dabbled in traditional folk as a solo artist. Add in the detail that the pair met for the first time at a Kate Bush concert and the sound of You Tell Me may start coming into focus even before you get a chance to listen to their self-titled debut. The pair’s 11-song album weaves in and out of those varied sonic worlds with ease and wide-eyed joy, often grabbing little fragments into a lovely patchwork. Opener “Enough To Notice” layers the dreamy spirit of The Pentangle and their ‘70s psych-folk ilk with bubblegum pop, while “Water Cooler” and “Get Out Of The Room” imagines The Blue Nile’s sophisticated gleam meeting a hearty post-rock rumble.

There is a tendency within the running time of You Tell Me for the duo to maintain their cruising altitude for long stretches when they clearly have the abilities to hit the accelerator and soar. The languid pace that they lend to the majority of the songs here suits them just fine, but put up against the peppier numbers, you may long for a bit more variation. At the same time, You Tell Me concocts such a spell with their debut that the journey will still delight and intoxicate.

You Tell Me’s debut album out 11th January 2019

Casting Out Parts 2 and 3

Mercury Prize nominated brothers Peter and David Brewis bring to the table a cinematic score composed to accompany Scottish filmmaker John Grierson’s pioneering 1929 silent film Drifters, which followed fishermen in the harsh conditions of the North Sea. The concept was originally commissioned by Berwick Film & Media Arts Festival a couple of years back, and audiences can soon experience the accompaniment to the documentary live in cinemas around the UK. Alternatively just pop on this silver coloured LP and let Field Music’s two sides of rhythmic instrumental wash over you.

http://

On its own without the film it’s a very pleasant listen but obviously not up there with the proper FM albums.

Image may contain: 1 person, sky

As if Field Music weren’t prolific enough creators in their own right, the Brewis brothers have also created a litany of excellent solo and side-projects as well. The latest one comes in the form of You Tell Me, a collaboration between Peter Brewis and Admiral Fallow member, Sarah Hayes. The pair met at a Kate Bush celebration concert, bonded over a shared love for Rufus Wainwright, The Blue Nile and Tortoise, and set about writing the songs that make up their debut album, out early next year on Memphis Industries.

This week ahead of the release, You Tell Me have shared their new single, Water Cooler, a track that, as Peter explains, is fairly self-explanatory, “it was intended to be a look at an inept office romance. I was literally imagining two office workers failing to talk to each other at the water cooler. No metaphors here”. Musically, the trademark Brewis rhythmic angularity is all present and correct, although it’s a more organic, less polished take on the sound. Much of You Tell Me’s debut album, and even their name, seems to deal with the idea of communication; conversations new and old, misunderstandings and shared moments of clarity. Now go make sure you stay hydrated, and if you happen to bump into your colleague on the way, you could try saying hello, if you want to, you tell us?

Brand new single from You Tell Me, taken from their self-titled debut album which is out 11th January via Memphis Industries.

Field Music return with their sixth album, Open Here. The two years since Commontime have been strange and turbulent. If you thought the world made some kind of sense, you may have questioned yourself a few times in the past two years. And that questioning, that erosion of faith – in people, in institutions, in shared experience – runs through every song on Field Music’s new album.

But there’s no gloom here. For Peter and David Brewis, playing together in their small riverside studio has been a joyful exorcism. Open Here is the last in a run of five albums made at the studio, an unprepossessing unit on a light industrial estate in Sunderland. Whilst the brothers weren’t quite tracking while the wrecking balls came, the eviction notice received in early 2017 gave the brothers a sense of urgency in the recording of Open Here. There probably won’t be many other rock records this year, or any year, which feature quite so much flute and flugelhorn (alongside the saxophones, string quartet and junk box percussion). But somehow or other, it comes together. Over thirteen years and six albums, Field Music have managed to carve a niche where all of these sounds can find a place; a place where pop music can be as voracious as it wants to be.

Taken from the upcoming album ‘Open Here’ (out 2nd February 2018) catch the band at , Nottingham, Rough Trade 7th February

Image result for images of record spines

What a long, cold, lonely month January has been . very few gigs but some great music so things are looking up.
Sad to say that Anna Burch has been pipped to the post for album of the week. I have been so hyped for her debut album and it really doesn’t let you down, definitely someone you will be seeing a lot of this year. You will be buying this anyway so I went for something you might not know.

Hookworms microshift 3000x3000

Hookworms – Microshift

Microshift marks a seismic shift in the Leeds band’s sound, dynamic, songwriting and production, whilst still bearing all the ferocious energy, intricate musicianship and bruised but beautiful song-craft of the previous releases which have quietly made them one of the UK’s most revered young bands. This is the band’s third studio album technically but arguably the first in which the studio has been central to its creation.

Radiant, immersive and teeming with light, but still heavy and forceful – the music on Microshift acts as a very deliberate counter to some of the difficult topics the album’s lyrics address. Death, disease, heartbreak, body image and even natural disaster are all present here but the overall effect these songs achieve is euphoric catharsis.

Album packshot

Anna Burch – Quit The Curse

Originally from St. Joseph, Michigan, Burch later moved to Chicago to study cinema. She relocated to Detroit a few years ago and quickly immersed herself into the local music scene, and has been involved with acts like Frontier Ruckus and Failed Flowers. After learning the ins and outs of playing live and recording with various acts over the last several years, Burch found herself accumulating a growing amount of solo material. These songs, full of sincerity and undeniable depth, caught the ears of Collin Dupuis (Angel Olsen, The Black Keys) who mixed the tracks and helped develop the final product into her debut full-length album. The nine songs that comprise Quit The Curse come on sugary and upbeat, but their darker lyrical themes and serpentine song structures are tucked neatly into what seem at first just like uncommonly catchy tunes. Burch’s crystal clear vocal harmonies and gracefully crafted songs feel so warm and friendly that it’s easy to miss the lyrics about destructive relationships, daddy issues and substance abuse that cling like spiderwebs to the hooky melodies. The maddeningly absent lover being sung to in 2 Cool 2 Care, the crowded exhaustion of With You Every Day or even the grim, paranoid tale of scoring drugs in Asking 4 A Friend sometimes feel overshadowed by the shimmering sonics that envelop them.

Gcrokfhbhtc6sj0uzyuvkxu6x40mazeasgeb8xqgzmw 8qvv75kbwty9xmrayzkfnfausqv ezvviqfe2k6bw c st hvrdlsn5mlgwql0gnarcgg2kdkxx1upkvsv6dwhy

Field Music – Open Here

Field Music return with their sixth album, Open Here. The two years since Commontime have been strange and turbulent. If you thought the world made some kind of sense, you may have questioned yourself a few times in the past two years. And that questioning, that erosion of faith – in people, in institutions, in shared experience – runs through every song on Field Music’s new album.

But there’s no gloom here. For Peter and David Brewis, playing together in their small riverside studio has been a joyful exorcism. Open Here is the last in a run of five albums made at the studio, an unprepossessing unit on a light industrial estate in Sunderland. Whilst the brothers weren’t quite tracking while the wrecking balls came, the eviction notice received in early 2017 gave the brothers a sense of urgency in the recording of Open Here. There probably won’t be many other rock records this year, or any year, which feature quite so much flute and flugelhorn (alongside the saxophones, string quartet and junk box percussion). But somehow or other, it comes together. Over thirteen years and six albums, Field Music have managed to carve a niche where all of these sounds can find a place; a place where pop music can be as voracious as it wants to be.

Kylecraft fullcirclenightmare 3600x3600 300

Kyle Craft  –  Full Circle Nightmare

Full Circle Nightmare Kyle Craft’s second album is entirely autobiographical. Sonically, thematically, lyrically, it’s a huge leap forward from his 2016 release. A straight-up rollicking rock’n’roll album, it traverses all the different nuances of the genre; from the bluegrass twang of Exile Rag, to the gothic style of Gold Calf Moan, it’s a timeless piece that could exist in any of the past five decades. In terms of contemporary peers, Craft likes to stay in his own lane. He’s an old soul who sticks to his tried and tested influences. The ironic thing is that Full Circle Nightmare sounds exactly like Kyle Craft’s America. That is what he’s built for us: the story of one man’s trials and tribulations to find his passion and voice for art and creativity in this vast opportunistic country. Where did he find it? Among the historic riches of America’s most honest sounds.

Screen shot 2017 12 20 at 01.05.40

Carlton Melton –  Mind Minerals

The new Carlton Melton album Mind Minerals is their first full length release since 2015’s widely lauded Out To Sea double opus, itself a languid drifting of drones and psychedically enhanced riffmongering. Sure, there’s been some long EP releases since.. Hidden Lights in 2017 (featuring the immeasurable drone sike float on Rememory) and Aground in 2016 (a companion, the Desert Island weather beaten psych-flow follow up to Out To Sea), now its time to soak up.. Mind Minerals. Mind Minerals finds Carlton Melton in fine fettle, all the songs were recorded and engineered at El Studio in San Francisco by Phil Manley on September 3rd and 4th 2016 (except ‘untimely’ – recorded at the Dome by Brian McDougall), the studio setting suits them – a logical progression from a weekend’s recording out at the Dome. Under Manley’s watchful ear / eye, Carlton Melton have created a futurescape soundtrack.., a 3001 Space Odyssey. The drums are more pounding and direct than before, the constantly re-assuring bass creates a helping hand to propel you through the clouds of static and shards of electrifying guitar dazzling your horizon. Synths help soothe the sharp edges and lull you into some out of body experience whilst and orchestrated calamitous scree pulls you back…. This is a breathless, yet deep breathing album. It demands full immersion. Searing guitar piercing the drone with relentless power, the core trio of Carlton Melton; Andy Duvall (drums / guitar), Clint Golden (bass guitar), and Rich Millman ( guitar / synth), have some alchemical bond that’s helped them create a post-rock / psychedelic / freeform organic slab of American Primitivism / space drift , this is unashamed head-music from the melting pot of Northern California.. 5 decades ago this album would have been released on the ESP Disk Label or even Apple.. there would have been no helter skelter if the desert Hippies had locked onto these vibes, plug in, turn on, tune out..float free.. Carlton Melton can provide your own aural microdose to reset your Mind / Psyche!!

 

Peter and David Brewis, playing together in their small riverside studio has been a joyful exorcism. “Open Here” is the last in a run of five albums made at their studio, an unprepossessing unit on a light industrial estate in Sunderland. whilst the brothers weren’t quite tracking while the wrecking balls came, the eviction notice received in early 2017 gave the brothers a sense of urgency in the recording of Open Here.

The studio became a sanctuary away from everything political and personal, a cocoon of creativity. and conversely, making the album became an alternative way to connect to people, with a wide array of musicians invited to leave their mark, notably Sarah Hayes on flute and piccolo, Liz Corney on vocals, Pete Fraser on saxophone, Simon Dennis on trumpet and flugelhorn, a Cornshed Sisters choir and the regular string quartet of Ed Cross, Jo Montgomery, Chrissie Slater and Ele Leckie. the result is a record that is bigger in scale, grander than anything they’ve done before. David explains, “where commontime felt like a distillation of all of the elements that make up Field Music, this feels like an expansion; as if we’re pushing in every direction at once to see how far we can go”.

Album opener, Time in joy, Turns Dark Times into sparkling funk, and might even have earned another acknowledgement from a sadly-departed purple superstar in happier circumstances. Count It Up’s wry critique of privilege bounces along like an upside-down material girl. checking on a message could be on the apocalyptic party playlist the morning after any number of recent voting catastrophes. Peter says the song “is about being too confident that world events will go the way you expect them to. and then getting bad news from a mobile phone”.

wrestling with politics has gone hand in hand with wrestling with parenthood. if we can’t make sense of the world for ourselves, how do we do it for our kids? share a pillow is the eye-rolling, eye-rubbing product of one too many nights playing musical beds, turning the pitter-patter of tiny feet into a bludgeoning baritone stomp. no king no princess is a barbed two-fingered salute to gender stereotypes. David again: “my little boy was born not long before we started making Commontime and my baby girl was born just before we started making Open Here. people tend to ascribe every perceived difference between them to their gender. the ‘princess’ thing is so weird to me – it’s such a passive aspiration. i wanted to write a song for my kids which says you can throw all of those expectations out of the window if you want to.”

On a few tracks, the melancholy finds a way to seep through. front of house says a too-late goodbye to a good friend gone far too soon. daylight saving wistfully laments having the time to be a couple when you’re preoccupied with being parents. and then on the final song, find a way to keep me, an imploring whisper builds to a wild, hurtling clangour, with flute and trumpet and strings diving and trilling around each other. it’s the grandest music the brothers have ever made.

 

There probably won’t be many other rock records this year, or any year, which feature quite so much flute and flugelhorn (alongside the saxophones, string quartet and junk box percussion). but somehow or other, it comes together. Over thirteen years and six albums, Field Music have managed to carve a niche where all of these sounds can find a place; a place where pop music can be as voracious as it wants to be.

Take a listen to Time in Joy, the second song from our upcoming album Open Here.

Image may contain: 1 person, standing, ocean, sky, beach, outdoor, nature and water

Field Music will be live in-store at Rough Trade Nottingham, performing tracks from their new album ‘Open Here’, released 2nd February on Memphis Industries.

7.00pm Doors // 7.30pm On-stage // 8.15pm Signing // 10.00pm close.

Field Music, Peter and David Brewis, have announced their sixth album “Open Here”. The brothers are just putting the finishing touches to the record and plan on releasing via Memphis Industries on 2nd February 2018.

The two years since Commontime have been strange and turbulent. If you thought the world made some kind of sense, you may have questioned yourself a few times in the past two years. And that questioning, that erosion of faith – in people, in institutions, in shared experience – runs through every song on the new Field Music album.

The brother’s studio, on the banks of the river Wear, became a sanctuary away from everything political and personal, a cocoon of creativity. And conversely, making the album became an alternative way to connect to people, with a wide array of musicians invited to leave their mark, notably Sarah Hayes on flute and piccolo, Liz Corney on vocals, Pete Fraser on saxophone, Simon Dennis on trumpet and flugelhorn, a Cornshed Sisters choir and the regular string quartet of Ed Cross, Jo Montgomery, Chrissie Slater and Ele Leckie. The result is a record that is bigger in scale, grander than anything they’ve done before.

David and Peter Brewis took a five year break after 2011’s Plumb to work on other projects (some of which involved them both). They returned in 2016 with their best record to date, Commontime. Now they’re back almost two years to the day with Open Here, which reflects both the state of the band and the state of the world. Brexit and the U.S. election inform the lyrics, while Madonna inspired the inventive first single “Count it Up.” “Where Commontime felt like a distillation of all of the elements that make up Field Music,” says David, “this feels like an expansion; as if we’re pushing in every direction at once to see how far we can go.”

Image may contain: night and text

Back on November. 7th, the British art-rock duo Field Music announced that their sixth studio album, “Open Here”, which will be released February. 2nd via Memphis Industries. On Tuesday, they shared the first single, “Count It Up.” The song uses a deceptively fun Devo-esque synth lead and strutting cadence to soundtrack a series of entitlements that the listener should consider when taking stock of his or her privilege: “If you can go through day to day without the fear of violence, count that up / If people don’t stare at you in the street because of the color of your skin, count that up / If your body makes some kind of sense to you, count that up.

Taken from the upcoming album ‘Open Here’ (out 2nd February 2018)