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From Here We Go Sublime
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Price: $10.16
Price subject to change!
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To view Amazon.com's best price click on the above link. Please note that you are under no obligation to buy. If you decide to add your selection of "From Here We Go Sublime" to your Amazon shopping cart. You may then return to CD Nature.com to shop for additional New Age Music or continue shopping at Amazon.com.
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Binding: Audio CD
EAN: 0880319029820
Label: Kompakt Germany
Manufacturer: Kompakt Germany
Number Of Discs: 1
Publisher: Kompakt Germany
Release Date: 2007-04-05
Studio: Kompakt Germany
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Customer reviews of From Here We Go Sublime
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Customer Rating: 
Summary: Headphone Commute Review
Comment: Slapping the terms like "trance", "minimal", and "techno", may quickly dismiss this album's true essence. But these labels shine some truth on what the music has to offer. The album undeniably employs 4/4 rhythm, which, I suppose, classifies it as techno; its minuscule musical progression begs for the minimal adjective; and its repetitive and hypnotic structure, no doubt puts people into trance. But that's just on the surface. Beyond the deeper layers, Axel Willner, who goes by the name The Field, employs tiny sampled, hiccuped, locked loops, that create the music all on their own, as if the needle was stuck in skipping groove. Yet, From Here We Go Sublime is not a banging stomp of grinding beats that you may imagine it to be. In fact, it is relaxing and surreal; it is a child of ambient and techno; it is sublime. Landing the album on Kompakt Records couldn't be more appropriate for Willner. The German label has released numerous minimal gems in the past years, from Thomas Fehlmann, Gui Boratto, Klimek and Richard Voigt. And who could deny Kaito's skillfully approach to simplicity in his Hundred Million Light Years. The reviews you may find on The Field are mixed. It may seem that skill is underplayed, when loops go on forever with barely any manipulation, as if an amateur discovered the fun in Ableton's sample locking, layering and filters. But it is that minimal progression, the buildup without the dynamics, the riding trip into narcotic fractal, that works well for Willner, time and time again. My favorite track is A Paw In My Face, because at the end it becomes "unstuck" and my brain unplugs as if the switch flips off in my electric chair.
Customer Rating: 
Summary: Headphone Commute Review
Comment: Slapping the terms like "trance", "minimal", and "techno", may quickly dismiss this album's true essence. But these labels shine some truth on what the music has to offer. The album undeniably employs 4/4 rhythm, which, I suppose, classifies it as techno; its minuscule musical progression begs for the minimal adjective; and its repetitive and hypnotic structure, no doubt puts people into trance. But that's just on the surface. Beyond the deeper layers, Axel Willner, who goes by the name The Field, employs tiny sampled, hiccuped, locked loops, that create the music all on their own, as if the needle was stuck in skipping groove. Yet, From Here We Go Sublime is not a banging stomp of grinding beats that you may imagine it to be. In fact, it is relaxing and surreal; it is a child of ambient and techno; it is sublime. Landing the album on Kompakt Records couldn't be more appropriate for Willner. The German label has released numerous minimal gems in the past years, from Thomas Fehlmann, Gui Boratto, Klimek and Richard Voigt. And who could deny Kaito's skillfully approach to simplicity in his Hundred Million Light Years. The reviews you may find on The Field are mixed. It may seem that skill is underplayed, when loops go on forever with barely any manipulation, as if an amateur discovered the fun in Ableton's sample locking, layering and filters. But it is that minimal progression, the buildup without the dynamics, the riding trip into narcotic fractal, that works well for Willner, time and time again. My favorite track is A Paw In My Face, because at the end it becomes "unstuck" and my brain unplugs as if the switch flips off in my electric chair.
Customer Rating:
Summary: Tepid electronic music that's okay for indie scenesters to like
Comment: I was leery when I saw that Pitchfork Media, that bastion of scenester fashionability staffed by stiff-jointed, tone-deaf English majors, gave this album a 9.0. Turns out my misapprehension was well-founded. "From Here We Go Sublime" is a surprisingly lukewarm, redundant release from the frequently above-par Kompakt label.
The main disappointment is that there is no sense of build-up or progression to be found on this disc: tracks start in media res, already plateauing, and remain more or less at the same keel for 6+ minutes. Even the most cliché-ridden, club-tailored music has a basic sense of progression, of build and release. The songs on this album sound like the middles of other songs, with intros, outros, bridges, breaks etc. surgically removed. Without any relief from this midtempo monotony, the tracks come off as suffocatingly repetitive rather than entrancing.
For a minimal house/techno effort, I was hoping at least for some clever sound design, but in that regard the album disappoints as well. There is a dearth of knob-twiddling and production wizardry in evidence, leaving the tracks sounding decidedly one-dimensional and two decades out of date.
It's difficult to discern what accounts for this album's esteem amongst self-proclaimed indie scenesters, though my suspicion is that the album/group names have more than a little to do with it. (My initial assumption based on these names was that this was some twee, lo-fi indie rock disc by a New England duo.)
There's so much better, smarter, more fun and more soulful electronic music out there that it baffles me why anyone would waste time on this, as opposed to picking up, say, Sasha's Airdrawndagger, a melodic minimal techno-ish set that runs rings around "From Here We Go Sublime" and predates it by half a decade.
Customer Rating:
Summary: From here we become fans...
Comment: This is essential music. Just when I thought that electronica had run its course; just when I thought that electronic musicians around the world had exhaused all the "bleeps", "bloops", bass lines, and cold beats that computers could muster, Axel from Sweeden comes out with this.
The music seems simple - insanely so. But that's the beauty of it; it's not bloated.
Customer Rating:
Summary: Get it
Comment: The question here is simple - if you are looking at reviews it is because you want to know whether you should buy it or not. The answer is easy as well: Get it. It's worth it
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Editorial Reviews:
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Electronic music usually profits from simplicity, a point the Field’s Axel Willner understood well when he made From Here We Go Sublime. Hailing from Sweden, Willner’s record has a weightless allure built out of droning spaces and populated with puffy cloud melodies that float and hover. It’s not exactly minimalist, because the layers are too complex and full of forward motion. But the assured way they repeat and loop into a dance-friendly texture would make both Brian Eno and Underworld proud. FHWGS has no interest in the usual peaks and valleys of trance, and yet its consistent anthemic oomph makes it a distant relative of that oft-derided genre. Willner’s patience and his emphasis on muted beats enable him to get maximum impact with only slight tweaks. "Over the Ice" sets the table with soft tones and scattered, wordless voices before dropping a hyper cross-rhythm, while glitch-y sidebars frame the exceedingly kind melody that drives "A Paw in My Voice." Even when the BPM notch gets kicked up on a relative burner like "Everyday," it fits right in with the record’s benevolent disposition. It’s brilliant stuff, a less-is-more epic that wafts onto the dance floor like a gust of summer wind. --Matthew Cooke
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