miguel_myriad
New Member
- Joined
- Nov 23, 2007
- Messages
- 303
The Field is the critically acclaimed Stockholm based minimal techno artist on the Kompakt label who boasts one of the albums of 2007 in From Here We Go Sublime (rated 9.0 by influential Pitchfork Media). Last seen at the Heineken Green Synergy Festival in the autumn.
POD Concerts presents
THE FIELD
Support: Gilles Armstrong (Electric City) & Barry Donovan (Lunar Disko)
Friday February 15th
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.myspace.com/thefieldsthlm
www.electricity-dublin.com
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 cab¥s in Stockholm’s 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 dance floor. 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 aspecific 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
POD Concerts presents
THE FIELD
Support: Gilles Armstrong (Electric City) & Barry Donovan (Lunar Disko)
Friday February 15th
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.myspace.com/thefieldsthlm
www.electricity-dublin.com
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 cab¥s in Stockholm’s 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 dance floor. 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 aspecific 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
