How to approach Fields? On horseback? In a pincer movement? Of course we don’t mean that literally, though it’s not as ridiculous as it might seem. There is a lot going on here you see, and it’s progressive to the extreme. There is no drought of ideas, you can define it by its movement, its constant rolling evolution, its resourcefulness, but what is there of material value? Is there anywhere to get a foothold? What is there that is so certain you could cling onto it without fear that it will slip through your fingers moments later, or detach and be superseded by something altogether different? This is the constant battle on Fields’ debut album ‘Everything Last Winter’. There is much to love, adore even at junctures, it is a detailed tapestry woven with rich thread, and of an inherent quality that won’t be lost on anyone.
But then what good is a tunic without somewhere to wear it, a congregation without something almighty to worship, or a driver with a well oiled engine, an A but no B? There are songs, some really good songs, on this debut, there is little doubt of that. But if anything makes Fields special it’s the way they do what they do, not necessarily what they do. These are not songs that you’ll be belting out in the shower or trying to evict from your cranium when all you want to do is sleep, there is actually not so much here that is stand out memorable. And yet every time you return to this album (and return you will) you can’t fail to be drawn in by its textures and gradients.
The twinkling folk shuffles and cross-instrumental detail of ‘You Don’t Need This Song (To Fix Your Broken Heart)’, the sheer enormity of the distorted clash of riffs, winding exploratory guitar and unrepentant beats throughout ‘The Death’, the immense post-rock climax to ‘Feathers’, and the jumpy beats and electronic underlay in ‘Skulls & Flesh & More’. Sometimes it’s nice to reach out and touch stuff, that’s the appeal. They sound like so many bands (Beta Band, The Cooper Temple Clause, Hope Of The States, Gomez, Engineers, Led Zeppelin) that they really can’t help but sound like themselves – and you can tell the effort’s been put in there. But the feeling remains that they could have done more with that sound. Nonetheless, an intriguing record