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The Field: all songs ranked (FINISHED)

blessed artist near-perfect discog let's make this a quick one
41The Field
Cupid's Head

Cupid's Head

Potentially his most grating sample ever, this one just feels off from the get go. Not generally a fan of this album's approach to vocal splicing and this is a nadir of sorts for it - at least it's relatively short!
40The Field
Infinite Moment

Made of Steel. Made of Stone

Not a huge fan of this - lumbering beat seems to be reaching for something epic, but the soundscape is rather bland? Weakest Field opener
39The Field
Looping State of Mind

Sweet Slow Baby

The main reason this is so low is that it's more epilogue than closer (Then It's White wraps up Looping State of Mind perfectly well on its own) and I really do not love how it forces the album to overstay its welcome. I do, however, appreciate the way he plays with broken ambient melody on here - as we'll see much, much higher up the list, this is something he improved on later
38The Field
Cupid's Head

A Guided Tour

Innocuous, not particularly memorable but not disastrous. Bass tone is quite cute here.
37The Field
The Follower

Monte Veritá

Pretty much the definition of an 'average' Field tune, which means it's pretty good but way low in his discog. I love the vocal hook on this, but it doesn't quite hold the floor enough to sustain 10+ minutes (and the chord changes aren't quite It). Bass in the second half kinda fucks though
36The Field
Cupid's Head

They Won't See Me

This one has a pretty engaging opening and then takes its sweet time to capitalise on it. Don't feel as much chemistry between individual layers as on most Field songs, but it's a decent enough start for his weakest album
35The Field
The Follower

Pink Sun

Ditto most of Monte Veritá, but minus the distracting chord changes and add some lovely lovely subtle stereo vocal shenanigans. Not his most addictive atmosphere, but the first one on the list that I can really get lost in
34The Field
From Here We Go Sublime

From Here We Go Sublime

Complete opposite of Sweet Slow Baby - I would never listen to this as a standalone song, but it's an absolutely perfect closer for From Here We Go Sublime. Love the feeling of erosion as it all comes to a rest. Hard to rank this one.
33The Field
Infinite Moment

Infinite Moment

Of all the Field's albums, Infinite Moment benefits the most from being heard in one sitting and I feel a little iffy breaking it up like this. The t/t is a much more satisfying closer than Made of Steel... is as an opener, but there's still something a little diffuse about it that holds back a higher placement
32The Field
Infinite Moment

Hear Your Voice

Much more of that Infinite Moment diffuse weary wavy out-of-time-ness here, but it's got a near 6/8 bass groove to back it up and some neat peripheral vocal action here. I pretty much view this as a hungover version of Soft Streams, so stay posted for that one
31The Field
Cupid's Head

20 Seconds of Affection

Nice spacey closer - not the best ambient Field track by a long shot, but a nice situational piece for sure
30The Field
From Here We Go Sublime

The Little Heart Beats So Fast

Okay, maybe a controversial placement - this is kinda a *bop* but only for the first minute. Picks up erfectly from Good Things End's early downer in sequence, but I'm not sure how well-suited the acid bass is to that catchy af staccato sample mix. Somehow manages to be one of the shortest Field songs *and* one that most clearly overstays its welcome. Still a fun song.
29The Field
Looping State of Mind

Then It's White

Never sure exactly how to feel about this one. Looping's ending combo always felt like a letdown to me because this is too kitsch (and tbf that piano sample is pushing it) and Sweet Slow Baby is extraneous in sequence, but the percussion here is a really treat and makes for a great space-out as an individual listen. It's *such* an obvious closer that it has more life if you take it out of sequence I guess? Nice song.
28The Field
Infinite Moment

Something Left, Something Right, Something Wrong

We're now in a funny patch of the list where I basically like every song but not enough to prioritise them when I dip into the Field. This is one I should probably change this for - it's a patient listen for sure, but the way he plays with glitch and static(-esque synth layers) is quite unique in his work and almost makes me wish it was even less percussion-focus. A sleeper, maybe
27The Field
Infinite Moment

Who Goes There

The (I guess?) second best track on Infinite Moment is less languorous than most of its fellows and ties a load of familiar Field tropes together without saying too much of its own. I do not have particularly strong feelings for this (good) album lol
26The Field
Looping State of Mind

Burned Out

Another example of a Looping song with a slightly twee melody, but the counter-melody that appears around halfway in this ties the whole thing together beautifully. Strong beats. Suffers a bit from a lacuna placement in between this album's two pairs of highlight songs, but it's still cosy enough in its way
25The Field
From Here We Go Sublime

The Deal

THE DEAL with From Here We Go Sublime is that the first 2/3rds of the album are a shockingly compact collection of *songs* and then in comes The Deal/Sun & Ice combo and you'd better be feeling sublime because two are 15+ minutes of hazy expanse. 'Arid' is usually an unflattering descriptor, but both pieces wear it very well and although I come back to them very little individually, I love that this otherwise sugar-happy record flexes its minimal chops and dishes out such an atmospheric attention starve. Beautiful stuff, if situational.
24The Field
Cupid's Head

Black Sea

Pretty much the blueprint for black cover-era Field: long runtime, patient addition and subtraction of multiple layers of melody, extended second half (in this case more of a coda with some enjoyably edgy bass), subtle vocal sampling (though I'm not sure about those oohs and aahs in said coda). First half in particular is lush and lovely - trade this for either of the weakest songs on the Follower, and it'd both fit seamlessly and cement that album within the Field's top 3.
23The Field
From Here We Go Sublime

Sun & Ice

The Deal pt. 2. I like this one marginally more because it's shorter, more danceable and has a wavy psychedelic wash-out to some of its later layers, but also I'm unsure of this because The Deal's central loop is potentially stronger. Birds of a feather with an accidental oil slick between them whoops.
22The Field
Yesterday and Today

Yesterday and Today

Yesterday and Today's t/t is dominated by off-kilter synth clashes, but these belie a leisurely zany piece that lands perfectly in sequencing and makes for a highly viable siesta cut. I don't love it quite as much in isolation, but this is solid on all fronts and has particularly taste intro and outro segments - and shit the bed, *this* is the weakest song on Yesterday and Today? Unreal album, virtually all of it hits the top half of the list and ig it claims the title of Most Consistent as such.
21The Field
The Follower

The Follower

I took a while to warm up to The Follower - compared to every other Field opener, I found this one's opening run of squelchy, squelchy synthscapes disorienting and borderline nauseous. I then realised that the entire second half bops like hell and just about justifies a set-up that zany (and while the first-second half switch feels extremely pronounced, it's amazing how many layers he actually conserves from one to the other; deceptively subtle track). Bit of a grower, but an excellent start to this excellent record (of which, need I remind you, there is still 50% to come). Hype etc
20The Field
Yesterday and Today

I Have The Moon, You Have The Internet

The other day I think I claimed this was the weakest Field opener. What the hell?! Its first half is maybe a little slight, but this is so good? Perfect warm hug of a fade-in that gently (slowly) eases us into the more expansive songwriting style he adopted after Sublime.
19The Field
Infinite Moment

Divide Now

Infinite Moment's big highlight is... well, great enough to make it to the top 20, but not quite enough to save it from being the first Field album to peace out entirely. This one's first section especially is a real zinger, easily the most individually engaging moment on the record and always hype to come back to - got a lot to say for the midway breakdown too (so disconcerting to hear a straight breaks sample on a Field album, but it works as a showstopper), but the second half settles down into Good territory thanks to slightly overbearing chord choices. Could have seen this going higher for many people, but it's a respectable peak anyhow.
18The Field
Yesterday and Today


Oof this is where things get rough - the following 4-5 places were a nightmare to decide, all of them great pieces but a little too limited in whichever respect to go toe-to-toe with the absolute monsters higher up.

Sequenced comes first because a) I feel least strongly about arguing its case, but mainly b) it's the most demanding and situational listen. This thing is an absolute powerhouse of a victory lap at the end of Yesterday and Today, but I find that it *needs* an album's worth of momentum to burn off and works not so well as a standalone listen. Very cool track though, love the way he takes a single motif, gradually the rhythm and then subtly (when?!) shifts the sample forward one half beat to fuck with our heads. Things only get denser from there, but the last two minutes of this song kinda make it for me - love how it finally opens up long after you've abandoned any expectation of it being more than one relentless interrogation of one idea.
17The Field
From Here We Go Sublime


Silent is lovely and so, so, so sentimental - the central sample here is one of the warmest and most inviting pieces in the whole Field discog, but it doesn't has as much going for it as Sublime's other sugary cuts - the central idea is great, but because he directly builds on it for the whole runtime and doesn't ever suggest anything to play it against or transition it into, it finds itself stretched a little thin. Pure ear candy, perhaps a little too pure.
16The Field
Looping State of Mind

It's Up There

I initially heard It's Up There as a less aggressive comedown from Is This Power's wallop of an opening, but the more time I've spent with it alone, the more convinced I am that it's actually not too far off as far as in-your-face Field goes. That pairing of a deceptively pushy one-bar stutter with one of his clubbiest beats? This one is still pretty immediate, but the real charm is the way he layers it into something far airier and more expansive than the sum of its parts would have you think. It's made it this far because I like both aspects; it doesn't get any further because it's a halfway house and works better as a balancing act than through any nuggets of individual brilliance as we'll be seeing on the songs further up.
15The Field
Yesterday and Today

Everybody's Got To Learn Sometime

Something tells me this one's sacrilegiously high, especially compared to the rest of Yesterday and Today, but I don't care - incongruous as those REAL LIFE TALKING HUMAN vocals are on a Field track, the way he alternates them with that dreamboat of a chopped-up chord loop is just perfect. Chimes on this are perfect too - this somehow simultaneously appeals to the part of me that loves melodic ambient glitch, scales everything I enjoy about chiptune (the unnaturally fast attack on those chord hits!) into hi-fi, and sustains an absolutely wondrous atmosphere that works perfectly in this record's warmer first half. Perfect one-and-done dream pop blissout, the boi's an angel.
14The Field
The Follower

Soft Streams

This song is FUN AS HELL and wildly underrepresented in Field discourse! Seriously - that 6/8 feel combined with a bassline so smooth the whole thing feels like it's fleshing out some funked-up underwater kingdom? Could listen to this for ages. Somewhat out of sorts amidst the rest of the Field discog (bar maybe the Follower t/t) - shit is as close as he gets to a big goofy grin. At a slight disadvantage in that respect because it's not what I normally turn to him for, but still a hard KEEP.
13The Field
Yesterday and Today

The More That I Do

Much like our lord and saviour TRIFOLIUM, I also used to get this once confused with Good Things End - the rhythm in the intro 'verse' (by Field standards, this one is strangely close to verse/chorus territory) and the sparseness of the progression have a similar feel to them somehow. The atmosphere and the heavenly Lorelei sample, however, do not! This song is bright and zany in way that nothing else on Yesterday and Today really approaches - it feels like more of a voice-driven song than Everybody's Got To Learn Sometime despite having not discernible lyrics or free-flowing vocal samples, and it's maybe the most melodically busy song on the album (loads of subtle countermelodies at work in the periphery here). I like it best in sequence, but this is a somewhat dazed-out ray of sunlight in any context.
12The Field
From Here We Go Sublime

Over The Ice

Over The Ice makes it this far purely for the eerie sense of intrigue that it's never ceased to evoke in me since I first heard it. The switch between this rather oblique, atmospherically foregrounded production showcase and the instant endorphin rush of A Paw In My Face is one of my favourite first impressions of any record from the last few years, and I'm always astounded how well this brings back the same feeling of wonder. Absolutely blessed start to the discog.
11The Field
Looping State of Mind

Arpeggiated Love

Silent's older, wiser sister - this one takes a slightly more patient, though no less outwardly tender fragment, and milks it for all it's worth. I find the progression here a lot more organic than Silent's; the gentle cutaways add a great deal and the atmosphere feels a lot less emotionally overbearing. Just a perfect Field moment-in-time that could have been 5 minutes longer or shorter and I'd hardly have noticed. Beautiful piece.
10The Field
Looping State of Mind

Is This Power

This song fucks. Pretty much every other Field opener is a relatively patient ease-in, but in keeping with Looping's comparatively robust feel, Is This Power kicks it off with absolutely monstrous combo of stabbing synth and growling basslines (this song in general is perhaps the bass highlight of his whole discog). It's by far the most aggressive thing he's put his name to, but also wears his trademarks perfectly - why ain't it any higher? Well, wait and see...
9The Field
Cupid's Head

No. No...

No. No... is at once the best song on Cupid's Head by an astronomical margin and my least favourite (though still thoroughly excellent!) in that small but elite pocket of his work that we shall call Dark-Field. This song is so bleak! What caused this? What is behind those no(no no no nonononono no)s? We may never know, but I love how oppressive this one is - the disintegrating layers on the periphery add so much to the central idea. One of his best ambient pieces too - and, spoilers spoilers, his ambience has an even higher ceiling than his darkness...
8The Field
Looping State of Mind

Looping State of Mind

The Looping State of Mind t/t opens with (and mines to perfection) one of the most immediately recognisable grooves in the Field discog - where his pieces tend to thud, stutter or sway within what one imagines must be a relatively modest geometric space, this one *lopes* ahead and is easily the track I'd turn to first if we were approaching him in dance-all-night mode. Alas, we are not - the Field for me is a thoroughly sedentary experience, at most a walk-around-town soundtrack - and so it finds itself at a slight and probably unfair disadvantage, but mmmboi this song is so fantastically constructed and just oozes movement like nothing else.
7The Field
From Here We Go Sublime


Everday is so *busy*! Everthing about this song sparkles with life and hooks and excitement - easily one of the most accessible Field songs, but also one of his most fun to return to! Slightly higher tempo lands a treat in Sublime, and that 2:37 DROP (in a Field song!) is legendary. Iirc Pitchfork at one point claimed that Sublime was actually a closet trance album, which - though hilariously off-base as a general statement - does kinda hold true for this one. Give me those zazzy laser beams in min techno, and then even more of those gorgeous second half vocals. There's a load of Field I love to space out or study to, but this one puts colour in my cheeks.
6The Field
From Here We Go Sublime

Good Times End

More dark Field - this one definitely scans as an early precedent for No. No...'s doomscape, but damn I think it might be even bleaker? Its simplicity works wonders - rare to describe a song this good as 'stifling', but its refusal to allow anything else to interfere with its lurch of a beat and down-shifted, bodiless vocal sample does have that effect. I *love* how bold this is in sequence - just as A Paw In My Face seems to have blown Sublime wide open, this one sucks the air right out of the room and immediately sets you on edge. Doesn't lose anything on a standalone listen either. Really poignant track, one of his most haunting.
5The Field
From Here We Go Sublime


...aaaand rounding off that top 10 hat trick of darker Field songs is this slightly under-discussed *gem* from Sublime! Where Good Times End and No. No... bring the doom, Mobilia is all noirish suspense - a vibe that takes so naturally to the Field's sound that I'm honestly surprised he hasn't done anything quite like it since. I love how paranoid this one sounds! I love the creeping melodies he weaves in and out and how it sidesteps into different sections without ever seeming to progress or depart from its central idea. Not too much more to say for this one - it's just absolutely gripping.
4The Field
The Follower

Reflecting Lights

So this is I guess the most underrated track in the Field discography, and tbqh I don't really understand why - though its opening half certainly takes a while to churn the song into gear, opening and closing to allow rays of light to trickly through a decidedly murky ambience in the lower-frequencies, it's a perfect set-up to the second half --- and *that* is easily one of the most beautiful things he's ever made. A stuttering piano sample, just a single interval between two notes (and a third cut out so early its presence is spectral), the interval occasionally shifted upwards to uplifting effect as the song finds its momentum, only to settle back down each time.

Perhaps it's a little kitsch, a little less oblique than most of his absolute bests, but I find so, so much refracted through that sound. It took me a few listens to get there, but at this point it's a fundamentally important moment of the Field as a whole to me - it's a candle flame flickering as it holds onto life; it's the sun coming up at the end of a night you never thought you'd see the end of; it's a reminder of things that make you smile in a strange place where you thought you might escape from yourself.

He hadn't done anything quite like it since A Paw In My Face, but where that song found melodic wonder by splitting the atom, this one feels as though it's snagged onto the tail feathers of a great upwards force and is clutching onto it for all it's worth, riding it up and and up tenaciously, impossibly, and, somehow, incredibly gracefully. The distorted bass in the final two minutes is absolutely beautiful and adds so much to that subtle tenacity. Fuck me this song is a vision. Its great length (second longest track?) is very much earned and does not need to be any longer or shorter - I love the way it just *stops*, no kitsch fadeout to flex that it could go on forever. It finds its natural limit and lets go in dignity. It is a blessing.
3The Field
The Follower

Raise the Dead

Of every song on the list, Raise the Dead's appeal is the biggest struggle to put into words - while its layerings and texture are far from the sparsest, it's one of the least outgoing or prone to obvious developments. It's full of ambient shimmer, with a distant hint of light suggested but never fully embraced, and it arguably achieves the most with one single cut of a single sample (it does shift a little 6ish minutes in but sssh not now not now). The atmosphere is just *perfect* from the get go; part of me wants to argue similarly to No. No… that the magic is in how he builds around the track, but the details here are so subtle that you'll have to press your nose to the speaker to make out anything more than a hazy outline. Maybe that's it - this piece thrives on suggested space rather than distinct contour. I dunno. Don't need to know - just never tired of getting lost in this. God-tier study jam.
2The Field
From Here We Go Sublime

A Paw in My Face

One of the most obvious Field classics and for good reason - this one's approach to cut-up melody is instantly effective and so, so inviting. The way the intervals (between notes) and the stop-start rhythms share the same tension and release is just astoundingly intuitive. So rare to find that in something so concertedly mechanical. Love everything about this - love that the sample plays out at the end; it's like he opens up this utterly transportive pocket universe only to drop the curtain to give us a candid glimpse of his process; the magic isn't in the artifice of those stuttering loops, but in the vast amount of warmth he suffuses them with, and getting to hear things from his side (however briefly) only strengthens that. I adored this from first listen and its magic has hardly worn off since - could easily see it being someone's favourite.
1The Field
Yesterday and Today

Leave It

As if it was going to be anything else lol. Towering banger of the highest calibre.

This whole top 10 is one of my favourite sets of songs in general, top 3-4 are jams I can't imagine living without at this point, but *this* is a category of 1 in practically any company whatsoever.

Absurdly good song.
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