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The Observer - The New Review - - Critics -

(Mem­phis In­dus­tries)

Stunned by the mu­si­cian­ship of Glas­gow band Admiral Fal­low while per­form­ing at a Kate Bush trib­ute gig in the city, Peter Brewis re­cruited their folk-rock flautist, Sarah Hayes, to ap­pear on his band Field Mu­sic’s ex­cel­lent 2018 al­bum Open Here. Now, on this full col­lab­o­ra­tive ef­fort, ten­ta­tive bridges be­tween the itchy rhythms of Hayes’s 2015 solo al­bum Wo­ven, which set tra­di­tional lyrics to her new ar­range­ments, and the folky ten­den­cies lurk­ing among Field Mu­sic’s jagged prog pop open up into fer­tile vis­tas of com­mon ground.

With a shared love of artists such as the Blue Nile, Ru­fus Wain­wright and, on the rich, prog-tinged For­eign Parts, the afore­men­tioned Kate Bush, these are ma­ture, classy songs. They’re also abuzz with the thrill of a bright new mu­si­cal friend­ship, au­di­ble in the con­fi­dences Brewis con­jures on the punchy Wa­ter­cooler, or Hayes’s un­bur­den­ing of pri­vate griefs on the ra­di­ant, string-swept Spring­burn. In­vis­i­ble Ink be­guiles with stac­cato, needling keys un­furl­ing into an ex­pan­sive cho­rus, while Get Out of the Room in­vokes the nervy funk of Talk­ing Heads. Kabuki, mean­while, show­cases the clar­ity and emo­tive power of Hayes’s voice, which through­out mixes well with Brewis’s fey tenor as first one then an­other steps into the spot­light. Emily Mackay

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