Recorded using "analogue synthesizer, percussion, short wave radio, and location recordings", "Fields" is another impressive addition to Kahn's discography, and can be loosely associated to his more electronics-based works like "Miramar". Don't expect any background ambient, though: while featuring the subtlety expected from the artist, the seven tracks, clocking in at 39 minutes, are also harsh and uncompromising. Each one shows great care in assembling different sound layers from the - often unrecognizable - sources, and the end result is so thick that it gives the impression of some mysteriously amplified machinery boiling over. While using raw material which by now is commonplace in electroacoustic music, Kahn manages to obtain something which is totally his, and this unique quality is the same you'll find in his improvised collaborations. As usual, the percussive element, reminding of Kahn's background as a drummer, is often present, disguised as a glassy rattling (track 1), a tinkling metronome (track 3), or the pulses of track 5; but you'll have to find it buried in layers of distorted frequencies and grey drones, which dominate the compositions giving them a sense of troubled stasis. The most impressive results probably come with the last two pieces, with bird chirps floating above low-end currents (track 6), and a magnetic storm of high-pitched cricket buzz. Possibly one of Kahn's noisiest endeavours, "Fields" is a though one to digest in a row, but that's true with most experiences that mark you in any way.