STEVE REICH

Excerpt from 'Variations For Winds, Strings And Keyboards', 1979.

KEVIN AYERS

Girl On A Swing (from 'Joy Of A Toy', 1969)



The Clarietta Rag (from 'Joy Of A Toy', 1969)



May I? - Live On OGWT (from 'Shooting At The Moon', 1970)



There Is Loving + Margaret (from 'Whatevershebringswesing', 1971)



Oh! Wot A Dream (from 'Bananamour', 1973)

MOBY GRAPE/SKIP SPENCE (+ A CHANGE IN FORMAT)

If there's anyone out there still reading, sorry i've neglected to post for a few weeks. The impetus has kind of dissipated, as you may have been able to tell from more recent posts. Sure, those 2008 articles were a bit excessive and cloying, but there was significantly more drive behind the writing. The turning point in my head was the 10,000 word 'lost post' on The Beach Boys/Brian Wilson. The entire time i was sat writing it, a good half of my brain was asking "what the hell are you doing?" The pointlessness of the venture just became a bit too much.

So, rather than regurgitate vague recollections from biographies etc., i'm just going to post daily YouTube clips (sort of a log of listening habits) and leave any extrapolations or further explorations up to you. Some will be all too familiar i'm sure, others less so and hopefully enlightening to someone.

All the best,
Sinbad.



MOBY GRAPE - Omaha (from 'Moby Grape', 1967)



MOBY GRAPE - He (from 'Wow', 1968)



MOBY GRAPE - Skip's Song (demo from 'Vintage' comp, final version - 'Seeing' - on 'Moby Grape '69', 1969)



SKIP SPENCE - Little Hands (from 'Oar', 1969)



SKIP SPENCE - War In Peace (from 'Oar', 1969)

MILTON NASCIMENTO

Just a very short one to keep things moving. It'll have to be brief anyway, because i'm far from clued up on this guy's back story. Most importantly, he's an icon of Brazilian music, Elis Regina having once claimed that "If God were to sing, it would be with the voice of Milton". He doesn't quite fit under the umbrella of Tropicalia (he emerged just after the likes of Caetano Veloso and Os Mutantes), but anyone with a passing interest in that movement will find Nascimento's work similarly captivating.

I've only managed to hear two albums so far (his back catalogue is pretty extensive), but they're both astonishing in their different ways. His 1969 debut, 'Courage', blends his folk, jazz and bossa nova background with lush orchestration to melodious, frequently dazzling effect - its opener 'Bridges (Travessia)' is deeply moving. The other record i own is his exquisite collaboration with Lo Borges, the first 'Clube Da Esquina' album from 1972. Here, the influence of western pop is more pronounced (Beatles, Beach Boys, progressive rock even), maybe making it the best starting point. As diverse as the music may be, the standard of the songwriting never slips.

I'll leave it nice and brief and let these HughTube samples speak for themselves. It would be more than a little misguided to let the language barrier stop you from exploring Milton - i intend to dig a bit deeper myself anyway!



Stripped-down version of the wondrous 'Travessia', originally on Courage.



'O Trem Azul', from Clube Da Esquina.



Opening track from Clube Da Esquina, 'Tudo O Que Voce Podia Ser'.



The joyous 'San Vicente', again from Clube Da Esquina.



The proggier end of the album, represented by 'Trem De Doido'.

FIELD MUSIC

Emerging from the same scene in north-east England that spawned The Futureheads and Maximo Park (stay with me), Sunderland's Field Music are led by brothers Peter and David Brewis. It's safe to say that at least half of all articles, reviews etc. of these guys have featured a sentence to that effect somewhere in the first paragraph. Although their music may be built on comparable foundations to the work of those two bands, the brothers Brewis have managed to draw upon their influences to rather more interesting effect (unfortunately without anything like the same degree of commercial success). The key touchstones are the poppier end of 80's new-wave (especially XTC), the sharper, more disciplined end of prog rock (maybe Roxy Music, Peter Gabriel, Kate Bush) and delightful string and brass arrangements in the baroque/chamber pop tradition. Plenty of other bits and pieces appear too - Peter's classical training lends much of their music both a sense of sophistication and an adventurous approach to melody.

Admittedly, Field Music may not be of much interest to people who prefer their rock loose and explorative. That isn't to say that their albums aren't full of surprising twists and turns - it's just that they tend towards intricate structures rather than meandering solos. I'll fill in other elements of the story with an album-by-album guide...


'Field Music' (2005) ***1/2

The debut album is highly accomplished and demonstrates a clear talent for both melody and vocal harmonies. There is a tendency towards the 'twee' at times which isn't entirely in line with my personal tastes (plus David's vocals occassionally sound a bit histrionic compared with Peter's more composed delivery), but it's definitely worth hearing for tracks like 'It's Not The Only Way To Feel Happy' (especially the melodica-led coda) and the delicate 'Luck Is A Fine Thing'.


Sleeve for the eponymous debut.


Video for early single 'If Only The Moon Were Up'.


'Write Your Own History' (2006) ***1/2

It may seem like an odd decision to release a B-sides/rarities compilation after just one album, but this features a number of tracks which better those on the debut. The token interim single 'You're Not Supposed To' is a harmony-pop delight, whilst 'Trying To Sit Out' and 'Feeding The Birds' are just heartbreakingly lovely.


Charming video for 'You're Not Supposed To' (is it just me or is that intro rather Christmassy?).


'Tones Of Town' (2007) ****1/2

The 'twee' has mostly dissipated by this second album to be replaced by a noticeably rockier feel. The songwriting has stepped up another level as well, the complex structures perhaps flowing better than before. With a bit more personality in the lyrics, this could have been a minor classic - the sheer volume of ideas suggests as much. As it is, it's still effortlessly involving, especially opener 'Give It Lose It Take It', the swooning 'Kingston' and the power-pop perfection of 'Closer At Hand'.


Amusing promo for 'A House Is Not A Home'.


'Kingston'.


'Sea From Shore' (School Of Language) (2008) ***1/2

Despite creating one of 2007's finest albums, the band announced a hiatus almost immediately after its release, citing a desire to get away from the restraints of the indie-rock band format.

There was evidently little in the way of inter-personal friction, though, as both Brewis brothers feature on each other's solo side projects. First up was David's School Of Language, which made an intriguing album best described as 'Field Music with a fuzz pedal'. There are some superb tracks on offer (the Flaming Lips-ish 'This Is No Fun', 'Ships'), though the whole thing feels a bit like a work in progress. Still an accomplished record, though.


Video for 'Rockist Pt. 1'.


'The Week That Was' (The Week That Was) (2008) ****1/2

Peter's album sounded rather more cohesive, partly on account of a loose concept holding the songs together (the interaction between society and the media). As well as having something more substantial to sing about, he amplifies the Peter Gabriel influence (most noticeably in the use of gated drums), as well as focussing in on the modern classical elements which had popped up at times on the last Field Music album (he'd clearly been listening to Steve Reich's minimalist experiments with marimbas). The writing was both ambitious and melodic (especially on highlight 'The Airport Line'), helping to make this one of 2008's finest. At least as good as 'Tones Of Town'.




They're really very good at this deadpan video business (this time it's 'Scratch The Surface').


'Field Music (Measure)' (2010) ****

The non-hiatus seemingly over, Field Music reconvened for a twenty-track double album. The band intended the record to be less rigidly structured than their previous efforts and they have probably succeeded, although that's really just by comparison. There's still plenty of ingenious pop on offer ('Them That Do Nothing' with its echoes of mid-period XTC, the graceful, strings-led 'Measure'). On the other hand, the band can be heard trying on some new clothes. Sometimes these moments feel like genre exercises, but they're as listenable as ever. They've also retained their talent for expertly balancing succinctness and breadth of vision. Once again, there's a bit of a hole where lyrical punch should be, but there are plenty of stunning musical moments to compensate - personal picks being David's 'Clear Water' and 'Lights Up' and Peter's more contemplative 'Precious Plans' and 'Choosing Numbers'.


'Them That Do Nothing' (featuring Liverpool's James Street station no less!)


A record-store performance of 'Clear Water' (that MicroKorg brings back some memories!).

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As i've already touched upon, my main qualm would be the lack of character in the lyrics ('The Week That Was' aside). To me, it seems that Field Music either don't really have much to say that isn't said in their music or choose to simply use the words as a way of getting their frequently wonderful melodies across. Fortunately, they've got more than enough ideas flowing through their compositions and arrangements for this to hardly matter. Maybe not a truly GREAT band then (not yet at least), but a group that's more than capable of creating some engrossing albums all the same.

Field Music MySpace

The Week That Was MySpace

School Of Language MySpace