The end of Laura has these fading orchestral, minimal low notes, and moving into Winter Fields seemed to work because it's a similar set-up which is bass flutes and low cellos. They kind of relate to each other in some ways but Winter Fields becomes much more rousing and moves into that English landscape place. I think it's the most nostalgic track on the record, harkening back to my memories of childhood, being in the back of a car driving through country lanes as it's snowing, looking out over the fields. Those real childhood depictions of the English landscape. It's a little bit haunted, lost in the flurries of snow.
Natasha's description of the song:
There are British landscapes [on the album], the Sussex Downs, the sea. I spend a lot of time walking around the places I went when I was little and around Sussex. Songs like “Winter Fields” talk quite specifically about childhood winters spent driving down country lanes and the snow-filled fields.
According to a Pitchfork article, in order to recreate a rainy sound effect for the song, producer Dan Carey “stood on a chair and poured water over the roof of a car while Natasha was inside recording with the windscreen wipers on—but in the end, it sounded like someone was pissing on the car.”
- "Bat For Lashes "The Haunted Man" Track-By-Track". Billboard.
- "Bat For Lashes - Natasha Khan's Guide To New Album The Haunted Man". 12 October 2012. Q Magazine.
- Coffey, Russ (15 October 2012). "Interview: 10 Questions for Natasha Khan". The Arts Desk.
- "Cover Story: Bat for Lashes". 18 October 2012. Pitchfork.