Field Music are one of those bands I don't have much of a fix on - I'd sort of mentally filed them as the kind of group Pitchfork habitually gives a good review to, alongside I dunno The Microphones / Mount Eerie
(Actually looking into it they've had some pretty mixed reviews from P-Fork and they seem more like a British Dirty Projectors if anything).
At any rate, not sure I've ever knowingly heard Field Music but this morning I read a poignant account about how in order to make ends meet as a band they've opened up a sideline as a Doors tribute band - Fire Doors.
After getting a disapproving response from a fan, one of the brothers involved wrote this rebuttal / rationale:
Streaming is one of the main culprits when it comes to the non-viability of being a professional musician. Here's an interesting piece from Ryan Dombal at Hearing Things (the new magazine venture by a bunch of former Pitchfork people) on why they have decided to have no more truck with Spotify (mostly the truck seems to have been doing article-related playlists through them). Instead they are having truck with Apple and Tidal.
I subscribe to Tidal, having grown addicted to their superior audio as an erstwhile contributor given a complimentary sub (nice while it lasted). I do have a vestigial Spotify account, which I never use as a daily listener. But because a bunch of playlists based around books of mine are up there I don't really want to close it down - the links are still out there in the printed books.
Still, perhaps going forward I should only do playlists through Tidal and Apple (I believe you don't have to subscribe to Tidal to listen it, just put up with the ads - same as with Spotify. Don't know about Apple). Or even do a playlist through YouTube, which has the added enhancement of visuals a lot of the time.
None of these places are recompensing musicians the way they used to be and should be. But they don't seem to be actively Satanic to quite the same extent.