You Tell Me is the new project from Field Music’s Peter Brewis and Admiral Fallow’s Sarah Hayes. After working together on the last Field Music album, Open Here,(check out the closing track ‘Find A Way To Keep Me’ to hear Sarah Hayes’ flute & vocal work) they’ve decided there’s enough of a musical spark to work as a duo. The album’s theme centres around communication which extends to the sharing of ideas between new musical collaborators. LP and CD on Memphis Industries, including two 'indies only' limited vinyl versions - but be quick!
Vinyl LP £16.49 MI0517LP
Black vinyl LP on Memphis Industries.
- Shipping cost: £3.35 ?
- Includes download code
CD £9.99 MI0517CD
CD on Memphis Industries.
- Shipping cost: £1.05 ?
Vinyl LP £24.99 MI0517LPX1
Dinked edition LP on Memphis Industries. Comes in an exclusive screen-printed sleeve, signed, hand numbered and pressed on white vinyl.
Limited Vinyl LP £17.49 MI0517LPX
Limited indies only white vinyl LP on Memphis Industries.
Those Field Music chaps are so clever. Too clever? Well yes they are. And their intricate intelligence passes on to this Peter Brewis collaboration with Admiral Fallow’s Sarah Hayes.
Ach it's the usual grab bag of Really Great Things mashed up with things that have been totally over worked and over done. The template is so close to Field Music that there's only a few slithers of DNA separating this from actually being a Field Music album. Certain songs you could play someone blindfolded and they would barely be able to tell the difference, it's full to the brim of orchestral flourishes for sure and on the tracks Sarah Hayes takes lead then, yes, I admit it, it's a very different beast altogether.
Their blend of orchestral pop, folk textures and progressive chord progressions sometimes hit pay dirt. The opening duo of Enough to Notice and Get Out of the Room are both impressive pop songs mostly because they are reasonably straightforward. The latter is particularly good with acoustic guitar chops building up with saxophones to an understated but ear friendly chorus. They follow this with the orchestrated mish-mash of Foreign Parts which sounds like the time ELO, XTC and Mike Batt triple booked the main room at Abbey Road and went ahead and made their records simultaneously.
During the records quieter passages the duo show that they can show restraint and when they don't slather everything in everything it leads to some beautiful moments. Like all Field Music and related projects it takes a while to get your ahead around. The patient listener is rewarded but...and I don't know if this is anything to do with Hayes voice or the more conventional arrangements but it sometimes seems a little... I don't know. Dare I say Sarah Brightman? Please don't let that put you off. It's carefully constructed prog/pop/folk that adds another shade to the Field Music canon.
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