WBEZ | The Field http://www.wbez.org/tags/field Latest from WBEZ Chicago Public Radio en Pitchfork Day 3: King Krule and The Field http://www.wbez.org/blogs/jim-derogatis/2012-07/pitchfork-day-3-king-krule-and-field-100921 <p><div><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/king%20krule.jpg" style="height: 449px; width: 300px; float: left; " title="King Krule (WBEZ/Annie Minoff)" />King Krule (Archy Marshall) elicited a few Bieber-caliber shrieks when he first appeared onstage for sound check. Truth be told, The London-based singer-songwriter&rsquo;s probably the closest thing Pitchfork fest had to offer in the way of a teenybopper heartthrob. Krule&rsquo;s young, he has an accent, and many of his lyrics involve super-sensitive appeals to an unnamed, generalized &ldquo;gurl.&rdquo;</div><div>&nbsp;</div><div>Krule&rsquo;s greatest asset is his voice. It&rsquo;s strangely deep and sonorous, suggesting wisdom beyond his eighteen years. Unfortunately we didn&rsquo;t hear nearly enough of it: Krule&rsquo;s vocals were consistently overpowered by run-of-the-mill bluesy accompaniments from his backing band. When at the very end of his set he launched into a solo rendition of his breakout single &ldquo;Out Getting Ribs,&rdquo; you had to wonder why he hadn&rsquo;t played solo the entire time.</div><div>&nbsp;</div><div>I should mention that Krule was dealing with one serious setback that had nothing to do with poor artistic decisions: he was scheduled opposite fan favorite Beach House. Nevertheless, this appeared to be one of the most sparsely attended shows of the festival.</div><div>&nbsp;</div><div>Closing Pitchfork&rsquo;s side stage was Swedish electronic act The Field (Axel Willner). Following Krule&rsquo;s sleepy ballads, The Field&rsquo;s dance-friendly four-to-the-floor &ldquo;minimal techno&rdquo; came as a welcome relief. Willner&rsquo;s music doesn&rsquo;t yield its highs all at once: This is an artist well versed in the club DJ&rsquo;s art of bringing an audience up and down slowly and deliberately.</div><div><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/the%20field.jpg" style="width: 620px; " title="Axel Willner aka The Field (Photo by Robert Loerzel)" /></div></div><div>This can make listening to The Field feel like an exercise in delayed gratification. Willner added each new beat and chopped up sample one at a time. Guitars, synths, and drums (Willner travels with a band) came in at measured intervals. It got to the point where each new addition and increase in musical momentum warranted a cheer from the crowd. When the music finally did reach its peak, the dancing was pretty ecstatic (the crowd was thin &ndash; all the better for full limb extension). And when Willner finally brought us down to the ground, it felt like the end of a festival, not just the end of a set.</div><div><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/the%20field%202.jpg" style="width: 620px; " title="The Field (Photo by Robert Loerzel)" /></div></div><p>&nbsp;</p></p> Sun, 15 Jul 2012 23:08:00 -0500 http://www.wbez.org/blogs/jim-derogatis/2012-07/pitchfork-day-3-king-krule-and-field-100921