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Commontime, Field Music's first studio release for four years apart from a soundtrack comes at a welcome time for fans and is a traditionally lengthy affair. The Sunderland natives sixth outing is a fourteen track collection and although some bands often begin to waver by track five, the Brewis brothers have recreated this feeling of necessity when it comes to the material included. There may be simple logic behind the phrase quality over quantity yet here there is clear cohesion and thought.

Track one is of no more significance than track fourteen, the album's strength is in its togetherness. That being said 'The Noisy Days are Over' is a glorious six-minute opener with Talking Heads frivolity and an ELO vocals which caught the attention of a plethora of new fans including the iconic Prince. Normally I am a harsh critic of the shuffle function yet it works on this LP as 'Trouble at the Lights' and 'I'm Glad' originally feel worlds apart in terms of pace and tone yet the psychedelic Tame Impala strings and imperfect production bring them into harmonious unity.

There are a whole host of influences present on this record yet most prominent are Hall & Oates in terms of the playfulness of pop, and David Bowie regarding experimentation. 'But Not For You' and 'Disappointed' seem to take direct inspiration from the late, great musician in delivery and unconventional rhythm found on the likes of 'Ziggy Stardust' and 'Fashion'. 'Don't You Want to Know' has yet more Bowie swagger with grooving guitar and jazz while 'It's A Good Thing' leans heavier on the synth jazz element to the pair's sound drawing further comparison to the new wave esteemed such as The Neptunes with a vocal in the region of Alexis Taylor of Hot Chip fame.

The band seem to have addressed the hour long runtime with lavish interlude style numbers such as 'The Morning Is Waiting For You' detailing the brothers transition to parenthood, it is a wonderfully avant-garde indie track where the Crude Tarmac String Quartet shine. There is obvious parental favouritism, not being able to pick amongst precious children with tracks such as 'Same Name' adding nothing to the album's overall appeal. Field Music can do no wrong when it comes to critical releases as they add another exceptional song set to their growing discography. The creative turnover and workflow of artists such as Laura Marling, Outfit and this dynamic pairing is something that should be praised not criticised because who really wants to wait another four years for an album this good?

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