It’s the times we live in, though we can’t even tell anymore what kind of ‘time’ that is or could be; but maybe, when we’ve grown tired of discussing ‘future shocks’ and ‘retromania’, when we stop waiting for the future and stop longing for the past that probably was nothing but an illusion in the first place, maybe then comes a time when we actually rediscover the ability to focus on the art in and of itself, an ability that lets us appreciate again that kind of music that doesn’t care for the ‘time’ it was written in, music that exists in a gap where those categories have no meaning. It is such a gap in which Ninety Thirty Thirty has found its place, the sophomore album by Fielded. The album’s eleven songs are not trapped in the past, though quite a few elements and means may remind you of things you’d find on records hidden in the attic of your parents’ house. They are not headed towards some utopian future either, where contemporary music’s foundations will be reconceived and overthrown. And surely, they are not particularly now in any way whatsoever.
Fielded is the solo project of Chicago resident Lindsay Powell, to some perhaps still better known as part of Ga’an or Skyblazer or Festival. Her music revolves around intense, inescapably stirring vocal explorations. Though more emphasis has been put on the overall production compared to her previous efforts, Ninety Thirty Thirty is no exception. The surrounding instrumentation, mainly composed of opulently arranged synths and programmed drums with the occasional sax intervention, may in itself be more sumptuous than what is commonly accepted in pop music these days. Yet within this setting it still can’t achieve more than merely providing the aptly luxurious decoration around the self-proclaimed diva’s absorbing vocal delivery. Just listen to the especially breathtaking standout "Eurynome": Lindsay Powell makes music that probably shouldn’t exist, anymore or yet; in that sense, we can’t be sure if it actually does. So you better check it out while it lasts. (co-premiere with No Fear Of Pop)