THE FIELD (full band show)
Support: tba
 
Friday January 30th
 
CrawDaddy – Harcourt St - Dublin 2.
Doors – 11.30pm til late
 
Tickets €20 (inc. booking fee) available from Ticketmaster, Road Records, City Discs, Sound Cellar and usual outlets. www.ticketmaster.ie
 
www.garmonbozia.se/thefield/
www.myspace.com/thefieldsthlm

QUOTES
"It focuses on the epic qualities of Ride and MBV, combined with Wilner's cosmic pop chops and his predilection for shuffly techno grooves" HOT PRESS 9/10
"It's a safe bet that From Here We Go Sublime will wind up 2007's most luxuriant record" PITCHFORK MEDIA

BIOG.
"His little heart it beats so fast"
Some people in Cologne have a saying about ambient, they call it "techno's quiet little sister". The Field ́s real name is Axel Willner, and his music comes from tiny loops of pop history. It might actually be an older brother to the Cologne movement Pop Ambient - the sentimental brother who is never content with being in the background, the one with the heart on his sleeve.
To clarify: The Field makes dance music. The edges are soft, the mood often romantic, the sounds moving up, up from the ground. As "minimal" as a sunset, as "banging" as a pillow.
My life with The Field begins before "The Field", with various pseudonyms and a website full of romantic photos. It begins with me rummaging through small music shops in Sweden, looking for handmade covers containing small, pretty drones, or that special song for cabies in Stockholms summer nights, the one with the doo-wop sample in the middle.
I remember, barely, nights with accordions, live sets in basements where small, fluffy clouds of music made pop kids dance, confused and happy. There are releases on small indie labels, shining like pearls among the rest, and there is that internet famous remix of Norwegian singer Annie. Then there is Kompakt, and the perfection of techno as a pillow to hold on to on the dancefloor.
There is the "Things Keep Falling Down"-EP, with big, sprawling tracks. Then there's "Sun & Ice", with two of the biggest hits, "Over The Ice" and "Istedgade" - songs that make you scream, twist, even shout, when all you want is to float. There are monumental remixes of Swedish pop singers and more live sets, a memorable one at a Kompakt after-party, with the morning sun shining in through huge windows.
I have other memories, of beer and afternoons in sunlit rooms, listening to the quiet kind of techno tracks which to Axel are classics. I remember endlessly repeated praises of those specific songs, and this love crammed into his own songs, more as a kind of energy than a specific influence. I seem to remember a few more things, none of them as important as the fact that all of this has hardly begun. - Emil Arvidsson