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The Week That Was The Week That Was (Advance) 2008 DV8

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Artist: The Week That Was
Title: The Week That Was
Label: Memphis Industries
Genre: Indie
Bitrate: 191kbit av.
Time: 00:32:37
Size: 46.97 mb
Rip Date: 2008-07-09
Str Date: 2008-00-00

1. Learn To Learn 3:05
2. The Good Life 2:41
3. The Story Waits For No One 2:52
4. It's All Gone Quiet 3:24
5. The Airport Line 3:55
6. Yesterday's Paper 7:01
7. Come Home 5:10
8. Scratch The Surface 4:29

Release Notes:

The Week That Was, written and recorded in late 2007 at Field
Music's 8 Studio in Sunderland, emerged from an imagined crime
thriller dreamt up by Peter and inspired by Paul Auster's
labyrinthine storytelling. Peter started writing the songs as
if they were moments, instances of perspectives within this
story. The story was left to fall away, leaving a puzzle of
musical snapshots. The songs are the evidence in this
particular mystery and the victims, perpetrators and onlookers
raise questions with concerns familiar to us all. How do we
deal with the fragments of information we receive through the
television, radio, the internet? How do we balance the
distrust we feel for mass media with our dependence on it? How
does this relationship influence our hopes and actions in our
real lives? And finally, what would happen if we decided not
to deal with it anymore and switched off the information flow
by throwing away our TVs, radios and newspapers? The anger,
confusion and sorrow details the week of Peter? own enforced
switch off. This may be about as conceptual as Peter will ever
get.

Musically the record is an expansive tribute, paying direct
(and indirect) homage to the wildly ambitious Linn Drum and
Fairlight experiments of Kate Bush, Peter Gabriel and Tin
Drum-era Japan. This fused with the typically detailed
arrangements and sense of drama makes The Week That Was a
brain-shattering, 32 minute epic, straying further outside the
conventions of most indie-guitar music.

The Week That Was has a cinematic quality not immediately
obvious in Field Music's previous recordings. Yesterday's
Paper wouldn't seem out of place as an alternative soundtrack
to the bureaucratic nightmares of Terry Gilliam's Brazil,
though with the surreal melodrama replaced by an uncomfortable
realism. True to it's title, Scratch The Surface sounds like
an inescapable, nagging, psychological itch - discomfort
dragged into the realms of psychodrama. The Airport Line
conjures the optimism of a train journey between Newcastle
airport to Sunderland. The Good Life seems to question the
rose tinted monocle of the TV eye. More evocative still are
the cycles of melancholy running though It's All Gone Quiet
and Come Home, both eulogies to love, loneliness and
dependence.

The record features contributions from Peter's Field Music
colleagues, Andrew Moore and David Brewis, along with Pete
Gofton on vibraphone, singing by Jennie Redmond, John Beattie
on cornet and Laura Cullen on flute, as well as percussive and
vocal duties from This Ain't Vegas' Jordan Hill and Richard
Amundsen. The strings were played by Emma Fisk and Peter
Richardson (veterans of previous Field Music albums) and
Pauline Brandon. The success of the album, however, pivots
around Peter's deftness and ingenuity as producer, engineer,
writer, instrumentalist and singer - it's hard to think of
even a handful of artists who would attempt to harness such a
sprawl of ideas, let alone who could pull off such a project
so astutely.

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