Yesterday and Today

Approfondimenti

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 /TiVo