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Field Day – The Notion Preview

If you’re in London and reading this website, you’re probably off to Field Day tomorrow. Most of us are too. Earlier in the week, we emailed all of our online writers and asked them what they were looking forward to seeing most. This is what we got back. (Please note that the above photo is in no way a representation of what the weather will hold in store)

Alex Lee Thomson: Spector
I’d take great pleasure in telling you all that I always knew Fred from Ox.Eagle.Lion.Man. had some big pop hits up his sleeve, but the truth is until I heard ‘Never Fade Away’ by his new project Spector, I simply didn’t have a clue. With drums inspired by the Baywatch theme tune and a clap-along chorus worthy of Killers comparison, it’s an incredible track that surely signifies a great new sound on the horizon. Really quite excited about seeing them live at Field Day, and I hope they’re as eerie and commanding as I imagine.

Kara Simsek: Leather Boy
Fuzzy, psychedelic and gloomy. Leather Boy’s sets are the soundtrack to that split second that you realise that you’re not having a good time and resign yourself to an eternal struggle to ever laugh again. From dusk til dawn – and in between.  Leather Boy: The Party Pessimist.

James Hoste: Carl Craig
This weekend will see the legend that is Carl Craig grace London’s Victoria Park, which should have all attendees bubbling with anticipation. Not only has he been a leading light in the world of techno for twenty years now, he is widely credited with helping it’s renaissance and infusing the Detroit sound with jazz and soulful influences. Couple this with the legacy of his Plant E Communications imprint which has not only released many of his own seminal works but also those of many other hugely influential names such as Kevin Saunderson and Moodyman. This wealth of experience, influence and innovation all coming to a small corner of one of London’s finest parks is fair reason it is one of the most anticipated performances of the weekend.

Stevie Pearce: Anna Calvi
I really, really, really didn’t want to like Anna Calvi. I remember when her self-titled album came out, now nominated for a Mercury, it was everywhere, and I quickly assumed it was yet more over-hyped chick rock that would be annoying and whinny. Naturally I bought up her album at the first opportunity. I opened it and pressed play, and that was all I listened to for a week. There’s something truly electric about her and her music, and her lyrics are more ‘I won’t apologise for the wrong I’ve done’ rather than ‘poor little me.’ A sure good show.

Gavin Bevan: Twin Shadow
Dominican born, George Lewis Jr aka Twin Shadow has built a solid following thanks to last years Chris Taylor (Grizzly Bear) produced debut, Forget. Forget is a collection of 80s tinged pop with hints of new wave, which, at times, climax in moments of soaring majesty. His live show this weekend promises even more with the energy shown at this years Coachella festival (and that was with a typical American crowd) bound to increase ten fold with a field full of half drunken Brits bopping to an artist that was clearly born a fair few years too late, as he has the magic to transport you back to a time when Casio watches weren’t vintage, and my Dad hadn’t a grey hair on his head.

Daniel Wright: Electrelane
It’s always a shame that with some bands you only realise just how good they are when they go away. So imagine how relieved I am that Electrelane have reformed. Now, having listened to ‘No Shots, No Calls’ for 4 years, I can finally see them live. Their hypnotic kraut-pop, tendency to sing in any language they choose and the fact that they are four women in a band who are just accepted on their own terms as exceptional musicians means, for me, they encapsulate everything great about music. And it’s why I’ll be down the front of the Field Day Main Stage at 4:30.

Seb Law: Connan Mockasin
The man is completely nuts. His album, as I described it some time ago is “droning, whisking, electronica draped with acid-tinged psychedelic tones and bathed in a languorous milk of spaced-out, obscure lyrics that both baffle and intrigue.” I was liked my unnecessary adjectivals back then. Anyway, I was listening back to the album the other week, while writing at 2am and it’s still fantastically sundrenched and woozy. It also contains some of the most blissed-out, fizzy-gooseflesh-inducing segues I’ve heard in recent years (in fact I’m sat here looking like I’m freezing cold just typing this, and we’re listening to something totally different on the stereo), and his 10-minute opus fabulosis Forever Dolphin Love is unfailingly fantastic. Live? you’d be a fool to miss him.

James Uden: Mount Kimbie
They’re a young act from home studio-based roots, who produce sounds as compellingly easy to listen to as they are intriguingly edgy and mystical. I’d be particularly eager to see them as I’m yet to experience them live and can only imagine how well the sound amongst an energetic and positive environment encapsulates a perhaps unacquainted audience. Their music fringes off of a dubstep approach, however with vast aspects of ambience and depth as opposed to reliance on simple, overly used rhythms. The duo’s sound takes you on an electrified journey of curiosity and creative progression. An innovative yet very much apparent and relevant act like this simply can’t go overlooked and unnoticed for too long and they’re more than due great success and growth in the near future.

Michael C Lewin: Jamie XX
So let us first agree that this has been XL’s year. From Adele to the Horrors via (ugh) the Friendly Fires AND EVEN BLOODY RADIOHEAD, they’ve swept up. We are all their subjects; they are our lords. All that survives for us to define ourselves by is into which artist-camp we fall. For the discerning, there is only one choice: the most exciting, unpredictable and prolific talent on their books, Jamie xx. He combines the crate-digging, vinyl-fetishising muso’s attention to detail with undeniable good-time thumping. Not to be missed.

Colin Chapman: The Horrors
The Horrors are the headline act for me here, transformed from teen goths and playthings of Peaches Geldof, their current vision is bewitching and cinematic in scope. New album Skying comes drenched in acid melodies, like Simple Minds played slo mo after too much peyote in the desert.

Charlie Clarkson: Trophy Wife
I first saw Trophy Wife earlier in the year as a support act for Two Door Cinema Club. I was unsure of what their “sad disco” would sound like in such a big venue, but I was genuinely blown away. Their energy is infectious, playing with such vigour that even the coolest of hipster kids can’t help but dance. They know exactly how to bring their tender, almost delicate songs and make them come alive on stage. With self-expressing lyrics sung with such a wan tone, elements of the melancholy exude from their live performances just as they do on the record. Nevertheless, the keyboard solos and guitar riffs excite the ears and heart, and I can assure they most certainly will electrify your soul. Unless you’re heartless. Then they probably won’t.

Mark Edwards: Twin Shadow
Twin Shadow is a really terrible band name but it belongs to a really good band. Their best tune is called ‘Slow’, check out the awkwardly excellent video here. “Yeah I like muscle cars’. Me too! Anyway imagine a world where Morrissey isn’t a total prick and has a sweet moustache and even sweeter hair and his band plays songs that sound like all your favourite 80s heartbreak tunes have coupled off and made babies together and then the babies have formed a band.
They have another really good song called ‘Castles in the Snow’, you can watch them playing it live on the Jimmy Fallon show here. Fuck, I really want his hair.

Full deets, line-ups, stage times etc available on the website:
www.fielddayfestivals.com

(Though presumably you’ve got your guestlist spor sorted by now.)



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