Inden minimal-technoen stagnerede komplet i pseudo-eksotisk og stillestående apati engang i de sene 00’ere, var den en af de væsentligste drivkræfter for udviklingen af den elektroniske musik. Især pladeselskabet Kompakt står – på godt og ondt – for den mest definitive lyd af denne afart af technoen, præget som den er af endeløse repetitioner, æteriske synths og cykliske loops med et minimum af variation og udvikling. At genren ubenægteligt vækker associationer til den mest tarvelige form for tøjbutiks-techno, bør dog på ingen måde overskygge det faktum, at den også affødte en masse vidunderlig musik, der tog udgangspunkt i dels den klassiske minimalisme, som den blev lavet af fx Steve Reich, Terry Riley og Philip Glass, og dels i den skrabede og skeletale maskinmusik, der kom ud af Detroit i starten af halvfemserne.

Svenske Axel Willner har som The Field videreført de bedste aspekter af minimal-technoen, og sat sit helt personlige præg på genrens loopende, organiske strukturer. Hos The Field blandes de kølige skabeloner med varmt flimrende samples af popmusik og ordløse vokaler, til et svimmelt, melodisk og trancefremkaldende hele, med referencer til alt fra Wolfgang Voigts udgivelser under navnet Gas, til shoegaze, Kate Bush og de sublimt glimtende og faseforskydende stykker musik, som den klassiske minimalisme skabte.

Det virker således ikke tilfældigt at Willners første plade som The Field netop var betitlet ‘From Here We Go Sublime’. En plade der modtog stort set universel hyldest, blev årets højest scorende på Metacritic, og optræder på så godt som samtlige lister over årtiets bedste og mest væsentlige elektroniske udgivelser. Ligesom resten af Willners udgivelser, er den præget af en næsten overvældende ligefremhed, et melodisk og kompositorisk overskud iblandet varme, organiske lydbidder i kalejdoskopiske mønstre, og en afvæbnende lettilgængelighed, der for garvede musiknørder ville vække mistro, hvis ikke det var så formidabelt sammensat og så helt igennem berusende.

The Fields musik lever i de talrige associationer, den uafvendeligt vækker. Sløvt glimtende neonlys forvandles umærkeligt til flimrende forårssol, vinden driver dovent igennem klorofylgrønne blade, plastisk, artificielle former afslører ved nærmere eftersyn et myldrende liv, der vælder frem i sprækkerne mellem gentagelserne. Det er en teknologisk fremmanet naturmetaforik, kredsløb der muterer til biologiske, fremmedartede organismer. Musik for androider der drømmer om græsklædte landskaber og drivende lammeskyer. Kort sagt, fremtidspop.

Before the minimal-techno stagnated completely in pseudo-exotic and stationary apathy once in the late 00s, it was one of the essential incentives for the development of the electronic music. The record company, Kompakt, is particularly, in charge of – for better or for worse – the most definitive sound of this variety of the techno, marked as if it was of endless revisions, ethereal synths and cyclical loops with a minimum of variation and development.

Although the genre undeniably awakens associations to the most shabby form of clothing-store-techno, it should not overshadow the fact that it also created a lot of wonderful music, which partly had its starting point in the classic minimalism, as Steve Reich, Terry Riley and Philip Glass for instance made machinemusic, which floated out of Detroit in the beginning of the 90s.

As the Field, Swedish Axel Willner has continued the best aspects of the minimal-techno, and has also put his own personal stamp on the genre and its looping and organic structures. At The Field, the chilly shapes and warm flickering samples of pop music and endless vocals are mixed, into a dizzy, melodious and trance-evoking entity, with references to everything from Wolfgang Voigt’s publications under the name Gas, to Shoegaze, Kate Bush and the outstanding flashing phase-displacing pieces of music, which was created by the classic minimalism.

Knowing that, it does not seem like a coincidence that Willner’s first record, as The Field was titled: “From Here We Go Sublime”. A record which received an almost universal tribute, became the highest scoring on Metacritic of the year, and performed on what seems like, every important and substantial electronic releases. Just like the rest of Willner’s releases, it is marked by an almost overwhelming simplicity, a melodious and compositional profit mixed with heath, organic soundbites in kaleidoscopic patterns, and a disarming readily accessibility, which might awaken distrust at hardened music nerds, if it was not that terrific put together and all the way through intoxicating.

The Field’s music exists in the countless associations it, unavoidably, awakens. Dulled flashing neon light are imperceptibly transformed into flickering spring sun, the wind floats lazy through chlorophyll-green leafs, plastic, artificiel shapes reveals, on closer inspection, a swarming life, that gushes out from the cracks between the repetitions. It is a technological raising nature imagery, circulations which mutates into biological, alien organisms. It is music for androids dreaming about turfy landscapes and drifting altocumuli. To cut a long story short, it is pop of the future.