A change of scenery can be quite inspiring. Sometimes we become so used to our environments that we start to forget about the amazing things that made us fall in love with the places that we live in the first place. We sit and use google maps to explore other places making comments like “it’s so beautiful” or “I wish I lived there” and day dreaming about what could be. We never google our own homes do we? We walk around and, after a while, we take it all for granted.
Rather than talking about other places though, sometimes the most inspiring thing you can do is go and live in them and absorb them. Not only does it make the world a more exciting place but when you return it makes you appreciate your home even more than you did before you left. If I could live in one place, it would be Amsterdam. I think it’s the most amazing city in the world and would be my ideal place to stay if I could. But when I visit Amsterdam, I always come home and notice more about Edinburgh, things I’ve missed previously, and that is something I truly love.
Landscapes and surroundings therefore change a person. Change perspective. Change focus and, in the case of music, change inspiration. ‘A Correction’ is very much a record about Canada. It’s an Englishman, uprooting and moving across the Atlantic to Vancouver to live for a time and, in so doing, finding new inspiration for creation, resulting in his most assured and confident piece of music to date. ‘A Correction’ is a real triumph and one that cements Fieldhead’s reputation as a master of his craft.
And it’s this growth, from the brilliant debut ‘They Shook Hands For Hours’, through the experimental ethos of ‘Riser’ and into ‘A Correction’ that shows real development and focus as an artist.
From the moment you pick up your copy of this album the influence of place is clear. Art showing a lone figure on what appears to be a frozen landscape. This is not the UK. It’s not about the UK. It’s not set in the UK. It’s not made in the UK. It is about place and people and the emotional interactions we experience as humans, and it’s wonderful.
From the off, everything that made Fieldhead so special is there. I have often pointed out that his use of beats is incredible. The type of processed beat on offer is the kind that can kill a record, pushing it from the sublime to the nasty in a flash. The margin for error is fine. The difference between a class piece of electronic music and something that sounds like a bad drum demo on one of those keyboards your school music department used to have is very narrow. Knowing your craft, that’s the key. And Fieldhead clearly understands how subtle processed beats can take a track and an album to a different level. Title track ‘A Correction’ is a perfect example of this opening the album with a mass of static and crackles given propulsion by one of those wonderful beats. But the album is littered with these subtle propulsions, used perfectly to lift the record when necessary. Elsewhere the album is filled with ethereal landscapes using a mixture of processed sounds and strings and the result is something quite other worldly. This really had to be a winter release as it fits the changing of the seasons with such perfection.
So Fieldhead moved to Canada and created an assured and mature record that reflects place. He’s back in the UK again now and hopefully appreciating and noticing his surroundings more than ever before. If that then translates into inspiration and creationwe are in line for ever improving offerings from one of the UKs finest talents. I cannot recommend this album highly enough.
You can find out more about Fieldhead and order your copy of ‘A Correction’ here. Enjoy.