9 tracks · 62 min
With Confield, Sean Booth and Rob Brown largely abandoned the warm ambient sounds of their earlier works such as Amber and Tri Repetae in favour of the more chaotic feel that they had been pursuing with LP5, EP7, and Peel Session. Confield saw the experimental use of computer programs to form the basis of songs instead of stand-alone synthesizers. According to Booth, "Most of Confield came out of experiments with Max that weren't really applicable in a club environment." One of the more controversial aspects of the album's production was, like EP7, the use of generative sequences for certain aspects of the songs. Booth countered this, arguing that although the beats created with the sequences may seem completely random to some people, that he and Brown had tight control over the limits and rules of what the beats could do, and that the concept was no different to the improvisation found in jazz. Although the bases of most of the songs were created by computers, analogue synthesizers and conventional drum machines were in fact used in many of the tracks. The cover art for this release is a screenshot from a short animation created by Booth and Brown. Pitchfork Media gave the album …
