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February 2018 sees the return of Field Music 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 the new Field Music 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. Review: If your musical heroes led you to Field Music, count it up... - Unashamedly my new favourite band. Not a new band, but new to me with this release (I feel like I've been living under a rock for the last decade or so as they're based only 10 miles down the road...) I only stumbled on them in the dying weeks of 2017 and they only hit my radar at all because I'm a fan of multi-instrumentalist Sarah Hayes, a guest player on this recording, who listed her participation their forthcoming gigs on her own website. Desperate for something new and good and trusting Hayes' involvement, I went digging with fingers crossed. The calling card that piqued my interest was "Count It Up", offered up as a teaser for the album ahead of release. It's a real grower, so it was off to the usual suspects (YouTube mainly) to get acquainted with the back catalogue to see if it was representative and... bingo. Right up my street. Field Music tick the same boxes for me as Sweet Billy Pilgrim did a few years before and during my adolescent years, XTC (particularly between English Settlement through to Skylarking), who shaped much of my aural tastes that developed thereafter. Back to "Open Here", which I pre-ordered few weeks ahead of release, filling the intervening time wallowing in their previous albums and solo offshoots. Should have been enough to keep me sated but I was keen to hear the new one with a gig ticket booked for the day after the album release. The CD arrived on release day and I devoured this for 24-hours solid to familiarise myself with the material before gig; I've had my fill of artists touring before the release in recent times and it just makes me yearn for the familiar. Needn't have worried, as I found the album to be very immediate, such are my tastes and predisposition to comparable bands. I was smitten with the album and the gig itself was nigh-on perfect, showcasing this release and featuring an expanded line-up, all of whom played on the recording. (The only reason I haven't listened to the album more since that astonishing gig is because the gig was streamed to the internet & has ended up on YouTube, and that 2 hour stream has become my go-to comfort blanket wherever I've needed headspace for the last 7 weeks and counting.) What this album proves (and previous albums more than hinted at) is how shrewd and self-disciplined the Brewis brothers are when it comes to when policing their own material: switching gears, styles, tempos, arrangements, structure. No idea on here outstays its welcome, nothing is laboured unnecessarily. If the ideas work and have been delivered, job done, move on; the quirky "Front of House" exemplifies this, and the titular "Open Here" crams in the elements, leaves space for all that exquisite instrumentation to breathe and still managed to clock in at 2m 19s with not an ounce of fat on the cut. Lyrically, there's more than a nod to the issues of the current day with this release (we live in strange times, after all) and that's possibly going to be too literal for some as they tread that fine line between observation and opinion, but this too is offset and balanced by more personal and reflective subject matter. They've been gradually expanding their instrumental palate pretty much from 2010's "Measure" onwards, and this time round there's the strings, brass and, right from the off, a hefty dose of flute. From the opener, "Time in Joy", to the closing epic "Find a Way to Keep Me" adorned with choral backing, there isn't a duff moment on here and at 39 minutes end-to-end, it's a welcome change from others who seek to fill a shiny piece of plastic with twice that amount (invariably without quality controls) simply because it's possible with that particular physical medium. That the Brewis brothers cite Todd Rundgren as an influence came as no surprise; Rundgren's production and arrangement stamp on XTC's pivotal Skylarking album may well be the culprit behind the many XTC comparisons they receive (and downplay). If you get the chance to see them live, don't miss out, they have a hell of a strong body of work. I wish I'd stumbled on them years ago. Review: Captivating - Andy Partridge proclaimed (in last year's excellent 'This Is Pop' rockumentary- yes I know he hates them) that XTC were that rare breed - a band that started off good and got better. Some may have thought it arrogant, to me a fair point (although it took Barry Andrews to be replaced by Dave Gregory before I truly began to subscribe to that). Step forward Field Music to join that most exclusive of clubs. A hugely enjoyable offering this, a mix of funk, retro and sublime flute/piano/ string quartet arrangements that form a heady mix. Apart from the base layer XTC comparison (David Brewis' higher range sounds so much like Colin Moulding it is uncanny) I can hear nods to Frank Zappa, Steely Dan and hints of a Genesis keyboard riff here and there. No doubt people with a broader range of musical taste will derive even more pleasure from identifying influences from other bands lurking within this gem of an album. High points are numerous (I certainly don't hear any fillers) but to me the title track and the closing song (which works itself up into a joyous Beatle - esque romp that brings a smile to my face) deserve to be singled out. I still live in hope that after quite a few years now Field Music will eventually receive the commercial success worthy of their critical acclaim. It is nothing less than they deserve.
| ASIN | B0776221SD |
| Best Sellers Rank | 65,386 in CDs & Vinyl ( See Top 100 in CDs & Vinyl ) 1,340 in Post Rock 1,388 in Indie & Lo-Fi 27,386 in Pop |
| Customer reviews | 4.5 4.5 out of 5 stars (69) |
| Is discontinued by manufacturer | No |
| Label | Memphis Industries |
| Manufacturer | Memphis Industries |
| Manufacturer reference | MICD 0476 |
| Number of discs | 1 |
| Product Dimensions | 14.1 x 12.5 x 1.19 cm; 92.13 g |
A**N
If your musical heroes led you to Field Music, count it up...
Unashamedly my new favourite band. Not a new band, but new to me with this release (I feel like I've been living under a rock for the last decade or so as they're based only 10 miles down the road...) I only stumbled on them in the dying weeks of 2017 and they only hit my radar at all because I'm a fan of multi-instrumentalist Sarah Hayes, a guest player on this recording, who listed her participation their forthcoming gigs on her own website. Desperate for something new and good and trusting Hayes' involvement, I went digging with fingers crossed. The calling card that piqued my interest was "Count It Up", offered up as a teaser for the album ahead of release. It's a real grower, so it was off to the usual suspects (YouTube mainly) to get acquainted with the back catalogue to see if it was representative and... bingo. Right up my street. Field Music tick the same boxes for me as Sweet Billy Pilgrim did a few years before and during my adolescent years, XTC (particularly between English Settlement through to Skylarking), who shaped much of my aural tastes that developed thereafter. Back to "Open Here", which I pre-ordered few weeks ahead of release, filling the intervening time wallowing in their previous albums and solo offshoots. Should have been enough to keep me sated but I was keen to hear the new one with a gig ticket booked for the day after the album release. The CD arrived on release day and I devoured this for 24-hours solid to familiarise myself with the material before gig; I've had my fill of artists touring before the release in recent times and it just makes me yearn for the familiar. Needn't have worried, as I found the album to be very immediate, such are my tastes and predisposition to comparable bands. I was smitten with the album and the gig itself was nigh-on perfect, showcasing this release and featuring an expanded line-up, all of whom played on the recording. (The only reason I haven't listened to the album more since that astonishing gig is because the gig was streamed to the internet & has ended up on YouTube, and that 2 hour stream has become my go-to comfort blanket wherever I've needed headspace for the last 7 weeks and counting.) What this album proves (and previous albums more than hinted at) is how shrewd and self-disciplined the Brewis brothers are when it comes to when policing their own material: switching gears, styles, tempos, arrangements, structure. No idea on here outstays its welcome, nothing is laboured unnecessarily. If the ideas work and have been delivered, job done, move on; the quirky "Front of House" exemplifies this, and the titular "Open Here" crams in the elements, leaves space for all that exquisite instrumentation to breathe and still managed to clock in at 2m 19s with not an ounce of fat on the cut. Lyrically, there's more than a nod to the issues of the current day with this release (we live in strange times, after all) and that's possibly going to be too literal for some as they tread that fine line between observation and opinion, but this too is offset and balanced by more personal and reflective subject matter. They've been gradually expanding their instrumental palate pretty much from 2010's "Measure" onwards, and this time round there's the strings, brass and, right from the off, a hefty dose of flute. From the opener, "Time in Joy", to the closing epic "Find a Way to Keep Me" adorned with choral backing, there isn't a duff moment on here and at 39 minutes end-to-end, it's a welcome change from others who seek to fill a shiny piece of plastic with twice that amount (invariably without quality controls) simply because it's possible with that particular physical medium. That the Brewis brothers cite Todd Rundgren as an influence came as no surprise; Rundgren's production and arrangement stamp on XTC's pivotal Skylarking album may well be the culprit behind the many XTC comparisons they receive (and downplay). If you get the chance to see them live, don't miss out, they have a hell of a strong body of work. I wish I'd stumbled on them years ago.
B**H
Captivating
Andy Partridge proclaimed (in last year's excellent 'This Is Pop' rockumentary- yes I know he hates them) that XTC were that rare breed - a band that started off good and got better. Some may have thought it arrogant, to me a fair point (although it took Barry Andrews to be replaced by Dave Gregory before I truly began to subscribe to that). Step forward Field Music to join that most exclusive of clubs. A hugely enjoyable offering this, a mix of funk, retro and sublime flute/piano/ string quartet arrangements that form a heady mix. Apart from the base layer XTC comparison (David Brewis' higher range sounds so much like Colin Moulding it is uncanny) I can hear nods to Frank Zappa, Steely Dan and hints of a Genesis keyboard riff here and there. No doubt people with a broader range of musical taste will derive even more pleasure from identifying influences from other bands lurking within this gem of an album. High points are numerous (I certainly don't hear any fillers) but to me the title track and the closing song (which works itself up into a joyous Beatle - esque romp that brings a smile to my face) deserve to be singled out. I still live in hope that after quite a few years now Field Music will eventually receive the commercial success worthy of their critical acclaim. It is nothing less than they deserve.
B**G
Earnest 21st Century Art Rock
I'm very impressed with this one, possibly my favourite Field Music disc so far, with just as much variation as the others, but more consistent successes throughout. The Brothers Brewis have clearly been around the houses, musically speaking, but the most obvious influences seem to be 10cc, XTC and Talking Heads. Fans of those bands should dive right in. Perhaps the most striking thing is the obvious restraint the band impose on these songs, holding back on their muso chops to let the intricate, funky art-school grooves develop, and then unleashing bursts of expansive ensemble playing. Really satisfying, beautifully arranged pop-rock.
M**E
Well worth a listen. Great stuff.
Great stuff from the Sunderland brothers. Love their tunes, their subject matter, their attitude, their musical style. Open Here certainly cements their musical sound with this album, in spite of some additional tools within the soundscape. Sounds like they've had fun making it, judging by the results. Stand out track for me is "Find a Way to Keep Me", although I've always been a sucker for a long song ending... Well worth a listen.
M**N
one of their best
70s genesis ,Gabriel lamb like experimentation, meets xtc, talking heads and prince,the more you listen the better it gets
B**S
Great record!
Quirky, funky, engaging. Great record!
G**E
Three Stars
over rated a tad
K**D
Field Music at top of their game.
I think this is their best so far.
D**E
En écoutant ce disque, attendez vous à entendre une myriade d'idées musicales. Les frères Brewis sont des espèces de génies. Harmonies léchées, ruptures rythmiques inattendues, sons incongrus mais arrivant au bon moment... tout y est. La production est de haut vol et on sent que rien n'est laissé au hasard sur cet enregistrement. Brut de pomme, lorsque j'ai écouté ce disque pour la première fois, il me semblait entendre une espèce de synthèse entre les Beatles, XTC et Genesis (première mouture)... D'où le titre de mon commentaire. Ce qui ne gâche rien, ces types n'ont pas le melon. Visionnez la vidéo de leur concert au Nothern Stage sur Youtube, vous comprendrez ce que je veux dire. Musiciens dans l’âme, leur set est impeccable, humble et efficace. Rien n'est à jeter sur ce disque. Sincèrement, faites en l’acquisition, les Brewis le méritent.
R**N
The songs have a bounce. And the sound is organic, i.e., human. Along with lyrics that are optimistic without being glib, the whole thing is very likeable indeed. Not to mention the pumping rhythm section.
A**5
As brilliant as ever!
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