LISTEN TO TANGIER / I KILLED YOU IN THE MORNING
Foreign Fields stopped running up the basement steps - instead, they turned around and faced the darkness, cautiously daring it to do its worst.
The Wisconsin audio/visual team begrudgingly donned the mantle of rock band after their debut album Anywhere But Where I Am was met with widespread; albeit unexpected, critical acclaim. There was something so charming and immediate about the soft tapestry the duo wove, combining Brian Holl's gentle vocals and dappled guitar with Eric Hillman's cinematic compositional instincts, they created the perfect score for the hours of dusk and dawn.
The years following Anywhere were filled with festivals and national tours, sharing the stage with Counting Crows, The Lone Bellow, Basia Bulat and Phox - but it wasn't until after a show at SXSW with Laura Marling and Leon Bridges that everything changed for Foreign Fields. Brian, the quiet driving force behind the band's operations, encountered a break from reality. Everything he had ever known about the world and himself crumbled instantly and he began a months-long process of regaining understanding about life and his role in it.In his own right, Eric, a new father, wrestled with the joy of his young daughter and the suffering of the world he knew she would grow up in. The pain he felt first hand in the people he loved most. The only thing that was clear was that nothing would be the same. Together, the duo began a journey into the unknown. In the subsequent year they found themselves producing records for the bands Matthew and the Atlas and Boom Forest, scoring for several film and television projects and soundscaping the immersive interactive game Ashen.
Having stretched and grown creatively and personally, the creative team had begun to rediscover themselves. They knew more music was coming, so they earnestly whispered their truths into the abyss, and what came singing back was their second record, the effortless Take Cover.
Upon first listen the magic of Foreign Fields is still immediately present, but you will find your mind drifting back to the perfectly orchestrated musical moments that are carefully hidden for you throughout the course of the record. Compared to their previous works, Take Cover has a noticeable lean toward spirited rhythms which dance anachronistically beneath honest lyrical confessions of doubt and hopelessness.