Soul/Club/Rap
LPレコード

Yesterday & Today [2LP+CD]

0.0

販売価格

¥
3,090
税込
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在庫状況 について

フォーマット LPレコード
発売日 2009年05月20日
国内/輸入 輸入
レーベルKompakt
構成数 3
パッケージ仕様 -
規格品番 KOM193
SKU 880319039317

構成数 : 3枚
合計収録時間 : 01:00:41
In case any doubt remained about Axel Willner's desire to be accessible beyond the realm of electronic dance music, his second album as the Field, Yesterday and Today, was licensed by Kompakt for U.S. release on Anti -- the eclectic, Epitaph-distributed label that was, at the time, pushing releases by Neko Case, Ramblin' Jack Elliot, and Booker T. At the least, it might help him shed some of the false associations that have been made between him and minimal techno, without exception drawn by those who are much more familiar with guitar bands than dance music. After all, Willner's productions are as minimal techno as early-'90s Field precursors Seefeel were minimal rock; they're not the least bit minimal, at least not sonically, and his approach to techno continues to sound like that of a dream pop/shoegaze freak. Those who dismissed the Swedish producer's first singles and From Here We Go Sublime for their unwavering formulaic nature won't likely be won over by this set, even though it features occasional input from several instrumentalists (including Battles drummer John Stanier), carries a few more twists and turns, and features a fairly straight cover of the Korgis' "Everybody's Got to Learn Some Time." It's more like a 30 than a 180, similar in its use of thickly layered, soothing white noise applied to cushiony thumps and microsamples, like the slivers of Elizabeth Fraser's voice from the Cocteau Twins' "Lorelei," used in "The More That I Do." If open to it, the album can be even more enveloping than the debut. The added warmth and a little extra depth go a long way. ~ Andy Kellman
録音 : ステレオ (Studio)

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作品の情報

メイン
アーティスト: The Field

商品の紹介

Spin (p.91) - "The cover of 'Everybody's Got to Learn Sometime' is hypnotic and lush, while 'I Have the Moon, You Have the Internet' unfolds as a rainforest of clicks, buzzes, and drips." Pitchfork (Website) - "The length of Willner's tracks, their did-he-or-didn't-he& shifts in mood, and their easy to miss addition/subtraction of instrumentation via the volume know suggest background music, and maybe that's the best 'in' to the Field's world." Record Collector (magazine) (p.81) - 4 stars out of 5 -- "[With] the appropriation of sample relics from the past forged into luscious fusions of techno and shoegaze, creating instant synthetic shots to the pleasure receptors." Signal To Noise (p.51) - "[The album] brings to bear a gradually evolving aesthetic, involving incremental shifts of texture, timbre, and, in some cases, beat pattern."
Rovi

In case any doubt remained about Axel Willner's desire to be accessible beyond the realm of electronic dance music, his second album as the Field, Yesterday and Today, was licensed by Kompakt for U.S. release on Anti -- the eclectic, Epitaph-distributed label that was, at the time, pushing releases by Neko Case, Ramblin' Jack Elliot, and Booker T. At the least, it might help him shed some of the false associations that have been made between him and minimal techno, without exception drawn by those who are much more familiar with guitar bands than dance music. After all, Willner's productions are as minimal techno as early-'90s Field precursors Seefeel were minimal rock; they're not the least bit minimal, at least not sonically, and his approach to techno continues to sound like that of a dream pop/shoegaze freak. Those who dismissed the Swedish producer's first singles and From Here We Go Sublime for their unwavering formulaic nature won't likely be won over by this set, even though it features occasional input from several instrumentalists (including Battles drummer John Stanier), carries a few more twists and turns, and features a fairly straight cover of the Korgis' "Everybody's Got to Learn Some Time." It's more like a 30 than a 180, similar in its use of thickly layered, soothing white noise applied to cushiony thumps and microsamples, like the slivers of Elizabeth Fraser's voice from the Cocteau Twins' "Lorelei," used in "The More That I Do." If open to it, the album can be even more enveloping than the debut. The added warmth and a little extra depth go a long way. ~ Andy Kellman
Rovi

2007年のファースト・アルバム『The Field』が各国のメディアで絶賛され、クラブ方面だけでなくロック好きの間でも大きな話題を呼んだフィールドが待望の新作を完成させた! ここしばらくはトム・ヨークやバトルスら精緻な音へのこだわりを持ったアーティストからリミックスを依頼されるなど、非常に充実した状態で今回の制作に臨んだようで、実際にバトルスのメンバーも参加。前作以上に生楽器を多用したことで全体のグルーヴ感がより強調され、サウンド的なスケールアップに成功しているし、最大の持ち味である透明感に溢れたメロディーとミニマルな展開ももちろん健在! ふたたびロック・リスナーをも巻き込んで高い評価を受けるであろう、コンパクトいち押しの注目盤である。
bounce (C)石井隆弘
タワーレコード(vol.310(2009年05月25日発行号)掲載)

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