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Yesterday And Today CD


Price: £10.96 & FREE Delivery in the UK. Details
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Amazon's The Field Store

Music

Image of album by The Field

Photos

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Biography

Stockholm-born, Berlin-based, The Field a.k.a. Axel Willner sprung into existence in 2003 when Axel took to Buzz – a software program he still uses to make music today – to construct his ambient techno based on a stoic motorik and a perpetually rotating hook. He was picked up by Kompakt just a year later. His track ‘Love vs. Distance’ provided an early demonstration of ... Read more in Amazon's The Field Store

Visit Amazon's The Field Store
for 7 albums, photos, discussions, and more.

Frequently Bought Together

Yesterday And Today + From Here We Go Sublime + Looping State Of Mind
Price For All Three: £35.94

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Product details

  • Audio CD (18 May 2009)
  • Number of Discs: 1
  • Format: CD
  • Label: SRD / Kompakt
  • ASIN: B002460NDC
  • Other Editions: Audio CD  |  Vinyl
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Bestsellers Rank: 127,068 in Music (See Top 100 in Music)

1. I Have The Moon, You Have The Internet
2. Everybody's Got To Learn Sometime
3. Leave It
4. Yesterday And Today
5. The More That I Do
6. Sequenced

Product Description

Product Description

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BBC Review

The Field is the nom de laptop of Swedish techno minimalist, Axel Willner. His previous album, 2007's From Here We Go Sublime was the kind of brainy electronic tour de force that appeals to the kind of people who need to know that he creates most of his work via the software Jeskola Buzz. But somewhere among the mechanised stuttering lurked both real instruments and a heart. Weirdly, and successfully, Yesterday And Today ups both the coldness and the warmth to reap even more rewards. Quite some trick.

A scant six repetitive tracks stretched over an hour may seem daunting, but they repay careful attention. Axel wins our hearts and minds (especially the latter) with his faith in an audience's ability to absorb work that nudges and breaks the ten minute barrier. But length isn't everything: it's the intricate way in which he builds his cerebral delights that boggles the gray cells. A good example is how Leave It's trance-y pulse gets subverted at around the halfway mark by its bell/chime motif suddenly, inexplicably going all wobbly. The devil's in the details here.

I Have The Moon, You Have The Internet confounds because it takes nearly five minutes to introduce the beat, making you wonder if this is some kind of nightmarish chill album you've been sold under the guise of cutting edge techno. In this Willner may be the heir to Manuel Gottsching's guitar trance classic, E2-E4. Miniscule samples of guitar, xylophone, etc. get tossed back and forth with Reichian aplomb until your head's spinning. Another masterstroke is the title track, where Battles drummer John Stanier joins the fun. His hyperactive prog/math schtick may be limited by Willner's beats but his cheeky offbeats still mesmerise.

On a couple of faint-hearted 'shorter' tracks: notably the rather pointless cover of Everybody's Got To Learn Sometime, he comes slightly unstuck. A recent cover by Baby D put paid to anyone dealing successfully with the Korgi's classic again any time soon. And leaving a big hole where the chorus should be isn't clever, just frustrating. Also The More That I Do leaves you stranded in some totalitarian techno ice field, all thumping beats and bleating vocal stabs.

As a template for future development Willner's approach may well be a blind alley, but it's a very seductive one. --Chris Jones

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Customer Reviews

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Most Helpful Customer Reviews

18 of 18 people found the following review helpful By Sick Mouthy VINE VOICE on 22 May 2009
Format: Audio CD
The Field's debut album was raved about in many places in 2007, and while I enjoyed its minimalist techno / shoegaze crossover aesthetic, I thought the actual tunes and rhythms were a little one-dimensional, rendering From Here We Go Sublime as little more than ambient music with a nice steady 4/4 pulse to me.

So I wasn't all that fussed about a follow-up, to be honest. Then I heard that John Stanier of Battles and Helmet was drumming on a track or too, that there were only six songs, that it was filled out with ideas a bit more than the debut... so I investigated.

And I'm super glad I did, because Yesterday & Today is better than The Field's debut in pretty much every way: rhythms are better, the banks of synths are better, the tunes are better, it's more emotional, each song has more ideas, the use of real drums and guitars gives an added textural dimension, and layers and grooves are built more convincingly than before.

The whole album holds holds my attention way better than the last, even (especially, in fact) when things get really minimal - the stripped back percussion & bass coda to the title track, for instance, excites me far more than anything on the debut did.

Then there's the closing track, Sequenced. Oh my! An epic 16-minute quasi-electric kraut jam that's like Moon Revolutions or Mother Sky or something, an irresistible groove that you want to go on for ever and ever. And the last 3 minutes is just the most blissful music I've heard all year - my only complaint is that this part of the tune doesn't go on forever.

The Field isn't really minimal techno or dance music, which a lot of people label him (them?) as; what attracts and delights me about Yesterday & Today is that it's basically a meld of electro/organic shoegaze / krautrock. Along with Patrick Wolf, Bill Callahan, and Grizzly Bear, this is my favourite album of the year so far.
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3 of 3 people found the following review helpful By Faux on 2 Mar 2010
Format: Audio CD
Yesterday and Today works better through headphones than in the club. You'd get too many people transfixed, just staring out into the middle distance. But, not unlike a Towers of Asia record, that's what makes it such a powerful experience to listen to on your own.
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1 of 1 people found the following review helpful By Mr. P. J. Coombe VINE VOICE on 24 Dec 2009
Format: Audio CD
I do not own the first field album, so new to the field but certainly not new to the genre, and I have to say man alive!

Anyone who can take the core essence of Pink Floyds "dogs" (not sampled, just essence) and throw this into a remake of the classic "Everybody's gotta learn sometime" earns 5 stars alone.

this is a beautiful album and sits extremely nicely as an electronic "step up" between my Max Richter, Johann Johannsson, murcof albums and alognside Trentmoller, lulu rouge..

Throughily throughily recomended
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1 of 1 people found the following review helpful By Che Canary on 22 July 2009
Format: Audio CD
This is simply a loverly piece of music. I'm not an expert on electronica but I heard a recomendation for it by Rob da Bank on his radio show. Much has been made of track six but the others are equally enjoyable and perfect for escaping this world for the next.
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