Looping State of Mind is the third studio album by Swedish electronic music producer Axel Willner under his alias the Field and released digitally on 5 September 2011 by Kompakt.

The production stemmed from the use of guest musicians for Willner's previous album as the Field, Yesterday and Today (2009), and his use of live instrumentation in a music tour.

The songs in Looping State of Mind were produced at Dumbo Studios, Cologne, where live instrumentation, performed by Dan Enquvist and Jesper Skarin, were added to demos composed by Willner.

[2] Though the album was less well-received than From Here We Go Sublime, it encouraged Willner to go on tour with bassist Dan Enquvist and drummer Jesper Skarin, which culminated in the production of Looping State of Mind.

[9][10] Noel Gardner of NME described the songs as "blissful, loop-based hymns at the intersection between shoegazing, trance and minimal techno".

[16][8][17] The opener, "Is This Power", combines a deep bassline with a pulsing drumbeat and synths,[14][8][18] building into a "trance-like sense of bliss".

[21][22] "Burned Out" is constructed from an R&B guitar loop and ambient melodies that establish the bittersweet tone before the introduction of an indistinct, distorted voice.

[21][16][23] "Arpeggiated Love", also reminiscent of Willner's previous work,[20] consists of laid-back synth grooves and a disembodied vocal sample that asks, "Are you gay?

[23] "Then It's White" is a "lullaby-esque song"[25] and a piano ballad[19] that combines classical music with the Field's distinct ambient sound.

[22][15] The song is emotional,[12] described by Josh Hall of The Line of Best Fit as "lugubrious, melancholic yet optimistic",[26] and progresses "hypnotically and methodically".

[31] The track "Then It's White" was released the same day on Kompakt's SoundCloud account,[32][33] leading to Willner to enter Hype Machine's most blogged artists chart that week.

"[24] Alex Young of Consequence declared that Looping State of Mind is well-constructed, beautifully ambitious, and a "refreshing return without any unnecessary sheen and gloss – minimalism that moves".

[16] Multiple critics also praised Willner for developing and improving upon his musical style for the album, especially in light of Yesterday and Today, which had a relatively disappointing reception.