a correction is the new album from Fieldhead and it builds on the love of melody, brevity and dusty atmosphere found in his previous releases – they shook hands for hours (Home Assembly Music 2009) and riser (Gizeh 2010).
Fieldhead’s music has always drawn heavily from his surroundings, with previous work taking much from the moors and towns around his former home of Leeds. In July 2010 Paul left these familiar surroundings for a new home in Canada, and the widescreen landscapes of his adopted home
have shaped Fieldhead’s music into a more expansive and emotive form. The familiar tape hiss and scratchy, decaying atmospheres remain from his previous work, but with a correction Elam has combined them with a deeper understanding of space and place.
The album appears minimalistic on first listen, but a correction is a record that slowly unfurls over time. Clouded melodies ride on a distant but almost constant pulse that brings the vast landscapes in and out of focus throughout the album, an approach that never allows the listener to get too
comfortable, and one that sets apart Fieldhead’s music from many other safer artists within the genre.
The violin of Elaine Reynolds (The Boats / The Sea) is central to a correction, adding warmth to the desolate northern atmospheres of the album, as well as providing the centrepoint of the record’s emotive peaks.
Previous comparisons of Fieldhead’s work to William Basinski, Machinefabriek and Grouper are definitely justified, but Paul’s work is undoubtedly more direct and concise. It’s fair to say that Elam’s previous outputs have already made his name in the ambient / drone field and a correction should further enhance his reputation as someone who can seamlessly marry soundscapes and melody to form an affecting and timeless piece of music.
Elam’s blend of icy textures and unexpected warm undercurrents is subtly beguiling and effortlessly affecting.
The album is alive with the feel of a new landscape, seasons and feelings translated into music. The result is Fieldhead’s best album yet.
This is what I imagine life in the middle of nowhere to sound like, where the ebb and flow of nature and the vast openness can play tricks on you, the normally inconsequential sounds you hear are filtered into music and a creeping, floating journey.
More than deserves to be regarded alongside the likes of Grouper and Boards of Canada as an important artist in the field of rustic, pastoral ambient / electronic music. 4.5/5
A Closer Listen
A bold excursion into the unknown: the shifting territory of unpredictable tones.
An aural salvo in honour of his new Canadian home, Fieldhead’s A Correction is a really, really enjoyable LP, one that you can easily get caught up in for days on end. Despite all the clever electronics and subtle changes of pace and texture there’s a very appealing fogginess about this release; it’s cosy, in a nice way, wrapped up in itself and concerned with only its immediate surroundings
Highly recommended slow burning late night melancholic electronica that makes you wish for cold, still winter nights, a log cabin and snow on the ground.
Fieldhead's third album finds him relocated sonically and geographically to colder, more isolated climes, and to great effect. Since 2010's 'Long Train Journeys' he's migrated from Leeds to Canada and with it comes a more spacious, finely textured and slowly unfurling sound revealing nine parts infused with the keening strings of The Boats' Elaine Reynolds rendered to a crackling electronic backdrop. File next to Machinefabriek, The Boats.
OCTOBER 22nd 2012
Limited Edition LP / DL
you can leave now
Mastered by Christopher Leary
Photography by Paul Elam
Layout / Design by Richard Knox