On Small World, Joseph Mount shrinks his scope. Whereas its predecessor, 2019’s Metronomy Forever, was a sprawling 17 tracks, Small World consists of just nine. “Often, I want to do the opposite of what I’ve just done,” Mount tells Apple Music. “I wanted to be really musically focused and concise.” This album’s title is, too, a reflection of the shrunken world in which it was made. Written in summer 2020—and recorded between November of that year and early 2021—these songs were crafted in the thick of the pandemic and explore loneliness (the Elliott Smith-meets-Red Hot Chili Peppers “Loneliness on the run”), the optimism we clung to (“Things will be fine”) and the incomprehensible weight of it all (“Life and Death”). This isn’t, however, a record to transport us back to the worst moments of lockdown. “The way I made music during the pandemic was to escape from feeling like I was in a pandemic,” says Mount. “This album is designed to be listened to when you’re free.” The soothing and organic sound of Small World might surprise listeners who’ve been with Metronomy since day one—not least because of Mount’s voice, which has dropped a few octaves, sounding at times like Benjamin Biolay’s or Serge Gainsbourg’s. “When I first started writing songs, I imagined I was a producer and that, one day, I would get a female singer to sing them,” says Mount who has, of course, since produced for artists including Robyn and Jessie Ware. “I would always sing in a falsetto voice and really high up. Even though it was never necessarily comfortable, it’s just what I did. This was me trying to be a bit more mature. I want to grow up with Metronomy. You’ve got to develop it and turn it into what you want it to be.” Read on as Mount guides us through his seventh album, one song at a time. “Life and Death” “This was the last thing I wrote for the record. I felt like I’d mined the experiences of being locked down for nice songs. And I hadn’t really done anything that acknowledged the actual gravity of the situation, and just how horrible it is and how many people died. This is my song, which is supposed to be a bit despairing about everything. But like all the songs on the record, the music isn’t supposed to make you feel bad or upset. It’s meant to be supportive.” “Things will be fine” “The first thing I wrote for the record. It encapsulated everything I wanted it to be, in terms of the sound and the lyrics. I’ve got two children and I was having to say to them, ‘Everything is going to be OK.’ But I had no knowledge that backed that up. It’s also about when you’re young, and for the first time you realise that the world is quite a horrible place. And then you realise you’ve been protected by your parents, which is what they’re there to do.” “It’s good to be back” “I was imagining this character, a musician who’s in their late thirties, trying to write a record that connects with young people. I was imagining a fictitious conversation with a record label: ‘Oh, you want to reach the kids? You need to use drum machines and synthesisers.’ And then doing that but putting in an acoustic guitar. Which, to me, is this really fun juxtaposition of ideas. The song was about being back at home, and about when our tours were cancelled or postponed. When you come back from being away, it always takes a week or two to lock back into the same routines with one another.” “Loneliness on the run” “‘Loneliness on the run’ is a song about being far away from people that you love. And wanting them to try and manage their bad feelings. I wrote something about visualising your loneliness, or your anger, and then throwing it out the window or chasing it away. So, that was the idea. At the end of this song, I guess the album does shift a gear and it becomes a little less introspective and starts forgetting the bad stuff.” “Love Factory” “I liked the idea of industrialising love, making it this thing which is churned out. This factory is operating at astonishing capacity. We are doing incredibly well at creating love here. It’s supposed to be a relentless song to reflect that.” “I lost my mind” “It’s about feeling like you are doubting your own sanity. It’s not something that I’ve felt, but during the pandemic, it was something that I was very aware of—how friends of ours in quite different situations were just in apartments, on their own, feeling very isolated and out of touch. I wanted it to feel like it was following that in the music as well. It does wig out, and I decided to put a whistling sound in, which helped push it over the edge.” “Right on time” “The other thing about imagining where I want to be in a few years is also this awareness that you can’t keep writing songs about falling for people because it’s happened. It happened a long time ago. Having said that, the next two songs on the album are exactly that. But I think they’re going to be the last songs I write like it. It’s just another mindlessly optimistic song about enjoying the sunshine. I remember the summer of 2020. It was super hot. Everyone suddenly had this realisation that, yes, you can be unable to see your family and be suffering with all kinds of stuff, but it’s unbelievably sunny and nice outside. Just finding somewhere where you can have the sun hitting your face makes you feel better.” “Hold me tonight” (feat. Porridge Radio) “The first demo I have of the song is just my voice and a guitar. It was a Velvet Underground-style thing I was thinking of: very sparse. Relatively near the end of recording the album, I was listening to this song, and I was like, ‘We should just restart and have someone else singing it.’ I thought it should be a girl’s voice and they should be singing about their side of this story, which is, of course, going to be that you love each other and everything’s great. I sent Dana [Margolin, of Porridge Radio] the track and what she sent back was this totally ruined situation where she turned the whole thing on its head. She turned it into something absolutely genuine for her, and it rescued the song for me in a way.” “I have seen enough” “I thought I’d try and write a song in French, and the idea for it was about the horror of life—but how you can’t look away. It’s too beautiful at the same time. And in the end, the French wasn’t really good enough, so it’s English! To nutshell it, it’s about just enjoying and appreciating what you have around you. And I guess the way that it would relate to the pandemic is just all of the horrors that were going on and still being able to find pleasurable things. Finding happiness within it all.”