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Limits of Language
Limits of Language in Bloomington, MN
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Size: CD
English duo
Field Music
embrace the ambient textures of analog synths on their philosophical and sonically layered ninth studio album
Limits of Language
. Bandmates and brothers
David
and
Peter Brewis
are known for their distinctive, smartly conceived brand of indie pop, one that draws inspiration from vinyl-era sounds like prog, Baroque, and AM pop. On
, they specifically utilized a handful of synthesizers to craft their intricate songs. What's particularly engaging about the band's production here is that, rather than trying to get the keyboards to stand in or mimic other instruments, you can really hear them drawing inspiration from the specific sounds of each synthesizer. This is especially true on the opening "Six Weeks, Nine Wells," where moody synth swells and a clipped electronic beat help them conjure the nostalgic childhood memories of days spent playing outdoors and running home at dusk. It's a poetic, visually cinematic vibe they return to throughout
, as on "Sounds About Right," "On the Other Side," and the lilting "Turn the Hours Away," hooky, yet still harmonically nuanced songs that bring to mind the thoughtful, early-'80s adult contemporary pop of bands like
Yes
,
Steely Dan
, and
Sparks
. Elsewhere, they shift gears toward the dancefloor, as on the angular "The Guardian of Sleep," with its stabbing,
Prince
-like synth-funk hits. Equally kinetic is "The Waitress of St. Louis," an homage to a beloved, closed-down cafe in the duo's hometown of Sunderland, England. Crooning against a barrage of smashing laser-tone synths, rubber band bass, and bouncing, tennis ball drums, they sing, "From the outside this still looks like somewhere that I'd know/But the waitress of St. Louis left here long ago." It's
's uncanny ability to capture emotions, however ineffable, in sound that drives all of
. ~ Matt Collar
Field Music
embrace the ambient textures of analog synths on their philosophical and sonically layered ninth studio album
Limits of Language
. Bandmates and brothers
David
and
Peter Brewis
are known for their distinctive, smartly conceived brand of indie pop, one that draws inspiration from vinyl-era sounds like prog, Baroque, and AM pop. On
, they specifically utilized a handful of synthesizers to craft their intricate songs. What's particularly engaging about the band's production here is that, rather than trying to get the keyboards to stand in or mimic other instruments, you can really hear them drawing inspiration from the specific sounds of each synthesizer. This is especially true on the opening "Six Weeks, Nine Wells," where moody synth swells and a clipped electronic beat help them conjure the nostalgic childhood memories of days spent playing outdoors and running home at dusk. It's a poetic, visually cinematic vibe they return to throughout
, as on "Sounds About Right," "On the Other Side," and the lilting "Turn the Hours Away," hooky, yet still harmonically nuanced songs that bring to mind the thoughtful, early-'80s adult contemporary pop of bands like
Yes
,
Steely Dan
, and
Sparks
. Elsewhere, they shift gears toward the dancefloor, as on the angular "The Guardian of Sleep," with its stabbing,
Prince
-like synth-funk hits. Equally kinetic is "The Waitress of St. Louis," an homage to a beloved, closed-down cafe in the duo's hometown of Sunderland, England. Crooning against a barrage of smashing laser-tone synths, rubber band bass, and bouncing, tennis ball drums, they sing, "From the outside this still looks like somewhere that I'd know/But the waitress of St. Louis left here long ago." It's
's uncanny ability to capture emotions, however ineffable, in sound that drives all of
. ~ Matt Collar
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