We want to make people feel good about things that we feel terrible about." says David Brewis,who has co-led the band Field Music with his brother Peter since 2004. It'sa statement which seemsparticularly fitting to their latest album, Flat White Moon released on 23 April via Memphis Industries.Like so many of plans made in the past year, Flat White Moon started out as one thing and evolvedinto another. After the complexities of touring 2018's Open Here, which required a bigger live band tocover the expansive arrangements, and then 2020's Making A New World, which was performed asone continuous piece with a synchronised visual accompaniment, Field Music's newest album beganwith the desire to play and to have fun.David: "We don't usually record a song thinking about how we're going to play it live. We're not thatkind of band. But there was a sense that it would be fun to do new songs which didn't have thosecomplications."Peter: "We say it all the time: You make music with your ears and your brain first. But I trust my earsand my brain, so let's make something which just feels good and feels physical."Sporadic sessions for the album began in late 2019 at the pair's studio in Sunderland, slotted betweenrehearsals and touring. The initial recordings pushed a looser performance aspect to the fore, inspiredby some of their very first musical loves; Free, Fleetwood Mac, Led Zeppelin and The Beatles; oldtapes and LPs pilfered from their parents' shelves. But a balance between performance andconstruction has always been an essential part of Field Music.P: "I was listening to Odelay and Three Feet High and Rising. I love how they use samples on thosealbums, taking parts that are obviouslyplayed-that are gestural-and then reconstruct them."By March, recording had already begun for most of the album's tracks and, with touring for Making ANew World winding down, Peter and David were ready to plough on and finish the record.D: "And then, of course, coronavirus happens. I think our plan for the record had already startedshifting but the fact that we were both then working from home, stuck with ourselves, accelerated thechange, though I probably hung onto the initial idea longer than Peter did."P: "I needed to retreat into myself. I enjoyed messing around with the material. I didn't want to have tothink of parts or arrangements. I wanted to play. So it wasn't against the original idea. It was more ofan extension."This playfulness became a way to offset the darkness and the sadness of many of the lyrics. Much ofthe album is plainly about loss and grief, and also about the guilt and isolation which comes with that.D: "We've always tried towrite what's uppermost in our minds. With Making A New World we couldsidestep our own lives to a degree. We could immerse ourselves in other people's stories until wewere ready to face the other stuff."Those personal upheavals are apparent on songs like Out of the Frame, where the loss of a lovedone is felt more deeply because they can't be found in photographs and compounded by thesuspicion that you caused their absence, or on When You Last Heard From a Linda, which details theconfusion of being unable to penetrate a best friend's loneliness in the darkest of circumstances.Some songs are more impressionistic. Orion From The Streets combines Studio Ghibli, adocumentary about Cary Grant and an excess of wine to become a hallucinogenic treatise onmemory and guilt.. Others, such as Not When You're In Love, are more descriptive. Here, the narratorguides us through slide-projected scenes, questioning the ideas and semantics of 'love' as well thereliability of his own memory.