Field Music The Week That Was (CD) (UK IMPORT)

Description: Further DetailsTitle: The Week That WasCondition: NewFormat: CDDescription: EDITORIAL REVIEWS 2008 debut album from the British Electro Pop outfit. Musically the record is an expansive tribute, paying direct (and indirect) homage to the wildly ambitious Linn Drum and Fairlight experiments of Kate Bush, Peter Gabriel, and Tin Drum-era Japan. Fused with typically detailed arrangements and a sense of drama, this makes The Week That Was a brain-shattering, 32-minute epic, straying far outside the conventions of most indie-guitar music. Memphis Industries. REVIEW If you're bored with the same old easy-listening alternative rock, most of which sounds like some gentle, inoffensive blend of Coldplay, Wilco and Earlimart, then The Week That Was, a solo effort by Field Music's Peter Brewis, offers a welcome change of pace from the likable but unimaginative, melodic norm. This is the sort of release that feels refreshingly uncategorizable yet hauntingly familiar, like the ambitious but slightly antisocial child of Kate Bush and Pink Floyd who refuses to play nicely. The 32-minute LP presents a deeply unpredictable, unfathomable progression of songs, from the relentless drums and early-Genesis sound of Learn to Learn & to the Beatles-y ballad Come Home. There's supposed to be some sort of unfolding crime mystery inspired by Paul Auster here, but good luck unraveling that one. Even after several listens, these songs will leave you scratching your head and wondering: That was interesting but ... what was that? -- --Heather Havrilesky, Salon.com Album of the Month --MOJO magazine, September 2008 Recommended. So, as it turns out, Sunderland is not the new Seattle, what with leading lights the Futureheads and Newcastle-upon-Tyne neighbors Maxïmo Park pumping out less exciting variations of their much-celebrated debut albums, and the scene's dark horse-- oddball indie pop trio Field Music-- announcing their hiatus before their second album (2007's Tones of Town) had barely settled onto record-store shelves. But for fraternal Field Music leaders David and Peter Brewis, the end of the band does not mean the death of the brand. Citing a growing disillusion with the touring and promotional aspects of being in a band but a continued enthusiasm for the recording/creative process, the brothers have essentially split into two outfits united under the Field Music Productions banner: David was first past the post earlier this year with his boisterous new School of Language project, which closely adhered to its antecedent's post-punky guitar pop schematic, while Peter now emerges with the even more ambitious The Week That Was, whose assured self-titled debut ushers in the Brewis brothers' next phase in earnest. Perhaps Field Music's most impressive quality was how they pulled off complex, multi-instrumental arrangements in a three-piece format; The Week That Was makes those grandiose intimations real with a formidable nine-piece line-up (including David in a supporting bassist role). Opener Learn to Learn begins with a booming repeated bass-drum/floor-tom pattern that acknowledges the lingering influence of XTC (Making Plans for Nigel), but also serves as a telling harbinger of Peter's renewed aesthetic, in which traditional new-wave guitars and synths are de-emphasized to exploit the acoustic and percussive qualities of pianos, vibraphones, marimbas, cornets, violins, and, yes, cowbells. It s an approach that was prefigured by Tones of Town tracks like A House Is Not a Home, but given a more authoritative treatment here: the tick-tock clatter of The Good Life and the hypnotic, Congotronic vibraphone oscillations of the gorgeous It's All Gone Quiet prove to be perfect complements to their workaday narratives, while the stuttering, trip-you-up drum beat of The Airport Line makes the journey to its swooning chorus that much more rewarding. When the strings come in to soothe the staccato rhythm, the net effect is something like Big Star's Third/Sister Lovers as performed by Can. Despite the more elaborate presentation, The Week That Was sticks to the Field Music tradition of packing a surfeit of ideas into a compact package, in this case eight songs and 32 minutes; even the inclusion of a seven-minute prog-like suite, Yesterday's Paper, doesn't curb momentum, those omnipresent drum rolls propelling the song through its multi-sectional turns at a brisk clip. Peter s songwriting sensibility places him squarely in a post-psych/post-punk tradition that's equal parts Colin Newman and Carl Newman, Robert Wyatt, and Robert Pollard, but the constant tension between The Week That Was' percussive and melodic elements means that, unlike Field Music, his new band can t be so easily aligned with contemporary indie-rock acts peddling new-wave nostalgia. Never mind the retro-gazing moniker-- The Week That Was is a band you need to hear now. --Stuart Berman, Pitchforkmedia.comGenre: World MusicArtist: Field MusicNo Of Discs: 1Record Label: Memphis IndustriesLanguage: EnglishEAN: 0655035012124 Missing Information?Please contact us if any details are missing and where possible we will add the information to our listing.

Price: 14.91 USD

Location: GU14 0GT

End Time: 2024-11-27T10:56:18.000Z

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