Field Report — Marigolden
♠♠ Trpělivě odhaluje myšlenku až do morku kostí. Porterfield vytváří příběhy, často popisuje postavy, které bojují za právo na rozhodnutí, i kdyby byla špatná, jakož i boje a úskalí spojená s hledáním amerického snu. Mnozí mluví pravdu záměrně a někteří neúmyslně. Například, píseň "Fergus Falls" z prvního alba je napsána z pohledu ženy, která se ocitá v nešťastné situaci s mužem a chce odejít. Je těhotná v malém městě a děsí jí představa života s tímto mužem. Klíčem je klid. Každá nota je na výběr. Každý okamžik je volba. Když ztratíte zaměření, připomeňte si to. Některé z těchto věcí jsou uvnitř vás a v písni. Ale jsem si vědom každé noty, každého okamžiku s vámi, každého crescenda. Každá klidná chvilka vám pomůže k volbě dobře si zorganizovat věci a to je velkou částí toho, kdo jsme. Field Report is an American folk band led by singer/songwriter Christopher Porterfield. The band's name is an anagram of the surname Porterfield.
♠♠ “That’s a really important part of what we sound like and who we are, which is that we don’t go for anything easy,” says Porterfield. “We want quietness to end up being the thing that ends up winning the night. It’s the struggle to translate that at any given show that makes us who we are.”
Location: Milwaukee, Wisconsin
Album release: October 7, 2014
Record Label: Partisan Records
01. Decision Day 4:32
02. Home (Leave The Lights On) 3:41
03. Pale Rider 5:02
04. Cups and Cups 4:22
05. Ambrosia 4:47
06. Wings 4:33
07. Marigolden 4:20
08. Michelle 5:14
09. Summons 4:51
10. Enchantment 5:01
℗ 2014 Partisan Records
♠♠ Christopher Porterfield: Lead vocals and Guitar
♠♠ Shane Leonard: Drums, Fiddle, Banjo, Backing Vocals
♠♠ Philip Shaw Bova Mastering
♠♠ Robbie Lackritz Engineer, Mixing, Producer
♠♠ Shane Leonard Banjo, Drums, Electronics, Gourd Banjo, Guitar, Percussion, Violin, Vocals
♠♠ Ben Lester Electronics, Guitar, Pedal Steel, Percussion, Piano, Synthesizer
♠♠ Tamara Lindeman Vocals
♠♠ Brenndan McGuire Technician
♠♠ Christopher Porterfield Composer, Guitar, Piano, Synthesizer, Vocals
♠♠ Travis Whitty Bass, Synthesizer, Vocals
•ι• It’s seldom that we would even consider the term “admire” in describing a band or a song. If another blogger were to use the term, we would be skeptical about the sincerity. Too often, bloggers get carried away in heaping praise upon songs we like, especially when we are just getting to know the songs. However, it is getting close to two years since Indie Obsessive first mentioned “Taking Alcatraz” by Field Report and it’s time to use the term in the blog for the first time:
•ι• Indie Obsessive admires the lyrical skills of the contributors to “Taking Alcatraz.” The lyrics show a respect for a historic occupation, since they reflect possible background thinking leading to and during the 1969 Native American occupation of Alcatraz Island. The lyrics are poetic in presenting that thinking (“So, clear my name and clear my throat. Find my voice and here we go again. Need a place to stand.”). And the lyrics state the weaknesses in the traditional expressions regarding drawing a line in the sand and how a bird is the hand is worth more than two in the bush (“Please just tell the boys: That the line in the sand don’t matter if you don’t care; That a bird in the hand is worthless if you're too scared.”).
•ι• "There’s an echelon of modern folk legends building their legacies in the state of Wisconsin. A cold expanse of rough roads, farmland fields, and glacial hills, the only wonder is that this folk renaissance didn’t happen sooner. Perhaps these artists beavered away, like forest critters in hibernation, incubating in their shelters during the cold of winters. But as soon as Justin Vernon of Bon Iver broke down the doors with For Emma Forever Ago, a legend of an album in its own right, the Wisconsin folk scene seemed to regurgitate dozens of pristine and much–heralded folk acts.
•ι• Few of these acts have come as close to the prestige of Bon Iver as Chris Porterfield’s Field Report. Field Report (a play on Porterfield’s last name) rose from the ashes of DeYarmond Edison, an outfit that once featured Vernon, as well as a number of other musicians that would come to occupy the rogue gallery of folk acts springing like oil in a newly drilled well from the state. Following a critically–acclaimed first release, expectations for Marigolden, the act’s sophomore offering, could certainly be lower. The timing for Marigolden is right. Fall season favors the wispy melancholy of Field Report’s lyrical tracks. Gelid folk songs find themselves as at home in the canon of textures that adorn the season as Pumpkin Spice Lattés and crewneck sweaters, and the ones found here are no different. Porterfield weaves cryptic phrases and adages with imagery steeped in Americana cliché. Of course, it’s no coincidence that the band’s most recent clip for ‘Home (Leave the Lights On)’ prominently displayed the centermost icon in American pop–country: the pickup truck. Were the music not so savvy and devoid of the genre’s more vapid frills, this album would be revealed for the pop-country masterpiece that it is."
•ι• Un joli album d'indie folk rock en provenance du Wisconsin.
♠ “The body remembers what the mind forgets,” Chris Porterfield reminisces on his acclaimed band Field Report’s sophomore record, Marigolden. The record is strewn with references to the inevitable tolls taken by the passage of time, and prolonged distance from home and loved ones.
♠ The past couple of years have flashed by for Porterfield, who was thrust into the spotlight after years of musical reclusion. His Milwaukee–based band, Field Report (an anagram of his surname), was culled together in the studio while recording their 2012 self–titled debut. They suddenly found themselves championed by their former idols: offered support tours by Counting Crows and Aimee Mann, lauded by the likes of Mark Eitzel and Richard Thompson, and covered by Blind Boys Of Alabama.
♠ The band honed itself from a septet to a quartet in the year that followed, focusing its sound and tightening the screws. With a heavy batch of songs under their arms, they retreated to snowy Ontario in December 2013 to record their sophomore album,Marigolden, with the help of producer Robbie Lackritz (Feist).
♠ Spending two years roaming around the country playing tiny venues and sold-out amphitheaters alike, Porterfield was uncertain whether he was leading the charge toward an artistic epiphany or headed down a misguided path of self–destruction. Marigoldenreflects this, as he ruminates across homesick tension and an un–grounded anxiety. But rather than wallow in melancholy, Porterfield finds solace and inspiration through his songs, which reveal themselves as uplifting and celebratory. The album is brighter than their 2012 debut, but somehow remains just as elegantly ominous.
♠ Marigolden’s second track, the surprisingly catchy radio single “Home,” finds Porterfield on the road, hoping the home, wife, dog, and life he left behind in Milwaukee will still be there upon his return. “Leave the lights on,” he asks, “it might be nighttime when I get there, but I’m on my way home.” While the song contemplates lonesomeness, there is an undeniable sense of hope driving it. In “Summons,” the penultimate track, he recalls this thought, repeating, “I’ll be coming home to you” like a mantra. This sense of balance and symmetry across the album helps provide stability to the otherwise volatile themes. Case in point: the album starts with a sunrise in “Decision Day” and ends full circle with another in “Enchantment.”
♠ Whether reconsidering sobriety in “Pale Rider,” sticking to tonic water in the bars of “Summons,” or cashing in a 30–day chip for a kiss in “Enchantment,” Porterfield’s relationship with alcohol runs through the current of nearly every song. Most notably in “Ambrosia,” where he find himself face to face with the reality of where his drinking is destined to lead.
♠ The album runs the musical gamut, from the Traveling Wilburys–esque pop of “Home,” to the Neil Young–inspired piano ballad “Ambrosia,” to the electronic sonic landscape of “Wings.” While the compositions express a wide range in terms of genre, they find unity in themselves within the limits of self–imposed minimalism. In the studio, the songs were stripped down to the bones and built back up using only their essential elements.
♠ Sequestered in a seemingly never-ending Ontario blizzard, the band only broke from this musical process to add logs to the stove, with the snow and the fire providing a proper background for music so rooted in the elemental. The effect that this fundamentals–based approach achieves is universal: the sparse arrangements and common themes speak to everyone, but somehow feel tailored to each listener. The title itself reflects this, a portmanteau of two common images (marigold and golden) to create something that feels both idiosyncratic and familiar: Marigolden.
Press: Shira Knishkowy: shira(@)partisanrecords.com
Agent: Brian Jonas: brian(@)highroadtouring.com
Management: Dave Godowsky: dave(@)goldve.com
Booking: Brian Jonas: brian(@)highroadtouring.com
Label: Andy Hsueh: andy(@)partisanrecords.com
Legal: John Strohm: jstrohm(@)loeb.com
By Piet Levy of the Journal Sentinel: http://www.jsonline.com/entertainment/musicandnightlife/10field31-p56lkf0-167996596.html
Field Report Get Serious
Written by Joshua M. Miller July 20th, 2012 at 10:26 am
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