Field Report
Marigolden
Reviewed by: Jordy Lyric
When I first heard the opening notes of Field Report (the performing name of Chris Porterfield)’s Marigolden, I thought I’d be falling in love with the album. The cute percussion and acoustic guitar warmed my heart, and as the album continues, I still find myself smiling. The innocence and love in Porterfield’s lyrics do not betray the sweetness of the instrumentation, but the album is not solely man, guitar and heart.
Field Report’s producer did him well. The synth and indie-pop-type instrumentals blend nicely and add a modern element to the classic heartfelt singer-songwriter’s work. While the album combines a folk-ish and a country-type element with a popular indie-type element, it does not become muddled nor stray from Porterfield’s roots or intent. It blends nicely and adds a uniqueness to the record without taking its integrity away.
In all honesty, I’m not a huge fan of country, and some folk that borders even slightly into the genre irks me. However, I think it’s done really nicely here. Tracks like “Cups and Cups” keep their simplicity while simultaneously exploring the depths of production, which creates an introspective sound and a flair that I love. It’s as if the band sat in the studio and built onto songs that Porterfield gave to them as an acoustic ditty and turned them into experimental and interesting little pieces of art without stealing their intent.
As the album continues, the songs, for the most part, get darker. The pain comes out in a very beautiful way, notably so on certain tracks, like “Ambrosia” and “Wings”. I love how honestly and precisely Porterfield expresses his pain. It’s gorgeous, internal, sad and sweet.
The honesty in Porterfield’s voice matches the honesty of his lyrics. I can tell that the album is personal, and it feels as if that heartfelt simplicity is built upon in an understated but present way. It’s a really nice listen. I recommend this album, and I commend the producer. If you can pick up on the subtle nuances and emotions of the album, you’ll interpret it deeply, you’ll feel it deeply, and it will hit home or at least snap a few heartstrings. If you can’t or don’t care to, it’s a pleasant listen thanks to the production elements behind Porterfield’s honest and beautiful songwriting.
Rating: Bad-Ass, but nearing Iconic
