Recommended if you like James Blake, James Blake, James Blake or James Blake.

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Danilo Bortoli: “Foreign Fields” owes a lot to post-dubstep’s class of 2011 (Jamie Woon, SBTRKT, James Blake and many others) in the sense that its emotion is carved out of thin air and the usage of negative spaces to convey something deeper than the sound initially could ever convey. Kacy Hill is well aware of those tricks and she explores them wisely. There’s the sparse piano, the distant vocals, Kacy herself as an otherworldly presence inside the song. As a result, “Foreign Fields” never really reaches a peak. Instead, it simply lingers as a narrative without a proper ending. “When will we fall?,” she asks once. The silence, as well learnt, can speak. 
[10]

Alfred Soto: The G.O.O.D Music signee sings and plays like the Prince of 1981 and boasts crackles like fan James Blake. The time for this drip-drip minimalism has passed, but I can imagine warming to it with headphones on a shuttle.
[5]

Katherine St Asaph: Neatly answers the question: would a female James Blake, even one with a G.O.O.D Music signing, get as much acclaim? Points deducted because I started skipping ahead, then tuning out when it didn’t turn into “Teardrop”; points restored because it does eventually go somewhere good.
[5]

Thomas Inskeep: Hill uses open space in ways similar to James Blake and Låpsley, allowing it to expand and contract as needed, largely around spare piano, a few crackly electronics, and her voice. When “Foreign Fields” goes full-on about 2:30 in, it accordingly packs more of a punch, its woozy melody wobbling but never falling down. 
[7]

Micha Cavaseno: The idea seems to be a feminine rip-off of James Blake’s debut (the sudden bass weight for each use of the chorus instantly recalls his “Limit For Your Love” cover) with a much more strict adherence to fleshed out song structures and a conclusive gasp into Kanye-style electro pulse and echoed ‘elegance.’ Kacy’s derivative in many ways of the post-dubstep poster-boy on this song, but other tracks show this is simply a nice way for her to play in the Blakeian sandbox, and she does it rather well! Idealistically, she will get out of other people’s styles for her songwriting and find her own corner, and hopefully write more songs that rely on the feather-light tone of her falsettos.
[6]

Edward Okulicz: Like most tracks of its type, “Foreign Fields” is a studied, thoughtful deployment of polite and pleasant sounds that spins its wheels and goes nowhere in particular. Distracted, I could almost take Hill’s vocals on the chorus for a more measured Florence Welch, and this song might even have benefited from some wrong-headed Welchian bluster. It’s wallpaper, but it’s pretty nice wallpaper.
[6]

Jonathan Bogart: Maybe it’s the old colonialist in me that’s immediately suspicious of any white person murmuring about foreign fields; maybe it’s the fact that the song is so soporific that I can’t ever be sure I didn’t fall asleep somewhere in the middle no matter how many times I listen; maybe it’s Maybelline.
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