someone recomended me Field Music Tones of Town CD tonight when i asked what it was like they said its the Cd of the year. what Gener i asked its Late Beach boys sort of Holland era the only way they could describe it. Please anyone else heard it tell me more.

[daveaka]

This is an etract from the bands myspace page, iam also getting there album today, looks like its going to be good..

Field Music (songwriting brothers Peter and David Brewis plus keyboard manipulator Andrew Moore) covered a lot of ground in 2006. The trio from Sunderland, England, have performed in Berlin, in Milan and Barcelona, toured France with Architecture in Helsinki and the UK twice on their lonesome, including Reading and Leeds Festival appearances, and the US where they were one of the surprise hits of SXSW. They also found time to invent a dance craze (according to English tabloid newspaper The News of the World), etch one side of a 7" with a list of things you really shouldn't do but probably have, release a cash-in-b-sides album which gave a brief and inaccurate history of a slew of pre-Field Music experiments. In addition the band also found time to record their second album proper.

As with their eponymous debut, Tones of Town was self-produced. Recording took place at their own Eight Music studio in Sunderland between 31st January and 16th May.

Where 'Field Music' was the sound of a group making the record they knew they were capable of; dryly-produced, ambitiously skewed, multilayered pop which gradually revealed its intricacies over repeated listens; Tones of Town sees Field Music pushing and scratching at all of the boundaries implicit in their debut; the sound of a band moving in several directions at once, searching for ways to surprise themselves, taking risks and trying something new.

That could be the cut-and-paste beatboxing which concludes 'Sit Tight', the stacked Day At The Races harmonies which lead into 'Closer At Hand', the tumble from dreaming overlapped marimba into an undiluted joyous rock guitar riff on the opener 'Give It Lose It Take It' or where the spiraling modular structures of the first record reach their logical extreme on the title track. On 'A House Is Not A Home' (Brewis, P) and first single 'In Context', Field Music could even be described as 'funky', albeit in a peculiarly singular avant-mackem way.

The album does though have a (possibly unintentional) unifying theme. Something along the lines of "There's no place like home, but how come I don't always feel 'at home', and what does that mean anyway?" Lyrically, Tones of Town, presents itself as a collection of missives from a generation who don't want to complain because they're well aware that they've never had it so good, but who nonetheless feel somewhat dislocated; geographically, socially, personally, from each other, from their jobs, from supermarkets, from indie music and from television.

The band's new album Tones of Town is set for release on 22 Jan 2007 in the UK and 20 Feb 2007 in the US preceded by singles In Context and A House is Not A Home..

Thanks.

Saw this to about there other album

Must thank Amazon uk for this by the way.

Amazon.co.uk Review
The debut album of Field Music (formed by original Futureheads drummer Peter Brewis, along with his brother David and Andrew Moore) was a charmingly eclectic affair, a mix of stylized vocal harmonies, imaginative instrumentation and a beguiling prettiness unmatched by most current post-indie-pop troubadours. Write Your Own History is not a sequel as much as a retrospective trajectory of their slightly dotty guitar pop. Collecting together b-sides and unreleased tracks that often have more in common with Field Music’s previous bands Electronic Eye Music and the New Tellers, we get a general idea of how their offbeat sound developed. Songs such as "Breakfast Song", "Feeding The Birds" and "Trying To Sit Out" are all older songs recorded by Peter (his first attempts at arranging for a string trio); ‘I’m Tired’ and ‘Test Your Reaction’ are reworkings of songs previously released on EPs and mini-albums. Some songs - ‘Alternating Current’ for example – even predate the New Tellers, but were re-recorded and released under the Field Music name at a later date. Whatever, almost all the songs here are great examples of Field Music’s inventive song-writing; and for those of us that love a good, quirky tune, that can only be a good thing. --Paul Sullivan

Description
Debut album from British four-piece rockers Field Music. Formed in 2004, the band line-up changed several times - at one time including Maximo Park's drummer Tom English - before the recording of this first album. Their blend of melodic rock is combined with a 60's pop sound, complete with Beatles-esque violins. The singles 'Shorter Shorter' and 'You Can Decide' are included.

When Paul Smith of Maximo Park (or whatever his name is) appears on TV wearing a trilby looking smug and tells you that you should be listening to Field Music, your immerdiate response is to avoid them like the plague. Well mine is.
If you were as unforgivably stupid as I was however, you'll miss out on one of the very few genuinely interesting bands left in this country. Field music are effortlessly charming, sensitive and intellegent if not always coherent.

The only real problem I have with the album is they suffer from the same lyrical vagueness that plagues most North Eastern bands like The Futureheads and Maximo Park, verses often bumble along in a clumsy manner with no real direction, as far as words go that is. It's just a slight shame when everything else is so good and to be fair its nice not to hear songs about going out on Friday night and drinking and having a fight or something.

Musically they know exactly where they're going. Field music thankfully ignore all the John Lennon influences so beloved by Britpop and instead take more from John's much maligned, animal loving, thumb's upping writing partner. No not Yoko. All the parts of the Beatles that everyone ignored 'cause they weren't cool are revived with twinges of the aforementioned Futureheads and a general post punkiness.

The use of strings is really impressive since they manage to avoid sounding 'epic' or 'like embrace'... ie pathetic and emasculated. Stand out tracks include 17, Pieces and the final track 'You're so Pretty' which is frankly amazing