"the slow roaming tempo that made up much of their 2010 double album Measure"[2]
Before the album Measure, Field Music almost split up.[3]
We did the last few ‘Measure’ gigs in December 2010, then we moved studio and started recording. Around the same time we were mixing the album we did auditions to find a bass player as Ian Black who toured ‘Measure’ couldn’t do it this time round and now we’re starting to tour again.[3]
"But when the band's core members, brothers Peter and David Brewis, re-emerged from a three-year hiatus in 2010, it seemed like they had ironed out their reservations about straightforward rock'n'roll. Not only was their comeback record, Measure, a double album-- the true standard for rock excess-- but it found them writing full-fledged songs, complete with verses, choruses, and guitar solos."[4]
"The Brewis brothers’ severely underrated 2010 indie-pop song suite, Field Music (Measure), was shot through with classic English songwriting. Bits of XTC (their standy touchstone), funk, and synth-rock swirled and congealed into quicksand-type pop. That release (and now Plumb) brought the bifurcated aesthetic of the siblings’ side projects into the mix."[5]
"Field Music’s last album featured their recording studio’s layout and equipment list." (I THINK THEY MEAN MEASURE?)[6]
their most comprehensive record, "dense, sprawling" "they flexed cerebral musicality, an apt sense of songwriting, and a scrappy will to remain relevant with the press"[7]
"The quartet have always been a band with big ambitions, as exhibited by their last album, Measure, a set of 20 songs spread over two discs. While hugely enjoyable, its sprawling nature proved excessive for all but über-enthusiasts."[8]
"Despite being over 70 minutes long, and including experiments with ‘found sound’ composition, Measure contained probably the most structurally coherent songs of Field Music’s career"[9]
"Measure, in 2010 was a 20-track opus influenced by classic double albums like The White Album and Tusk for scope and ambition"[10]
"For that record we kind of embraced rock conventions to a certain degree. We were rediscovering our childhood love of Led Zeppelin and Free and made a record that was almost like normal rock."[11]
"Their self-titled third album from 2010 was a vast and multi-headed collection of pop music as seen through a distorting prism."[12]
