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| image: metronomy.co.uk |
Devon quartet, Metronomy, have finally made their highly anticipated return in the form of their fourth studio album, Love Letters. Metronomy's primarily electronic sound has been known to fluctuate between that purely instrumental phase the band underwent - especially apparent on debut album, Pip Paine, when Joe Mount's side project suddenly rose to prominence back in 2006. However, the addition of Anna Prior and Olugbenga Adelekan saw a transformation in the 'Metronomy sound' as we knew it on critically acclaimed third album, The English Riviera, in which the band explored much more vintage sounding, vocally focused territory. Despite my incredulously high opinions of The English Riviera, Metronomy's second album, Nights Out, always had that edge over it for me with stunning tracks like On Dancefloors and Heartbreaker taking the crown. However, the question as to whether or not Love Letters has surpassed any of its three predecessors still remains unanswered for me...
From the outset, it's blatant that, Love Letters, is a clear progression from where they left off with The English Riviera, with predominantly 60's inspired instrumentals and that electronic undertone that continues to set Metronomy apart as one of the most unique pop-rock bands today. However, despite the resounding similarities that can be drawn between the two albums, something seems miraculously different.
Joe Mount's recent move to the city of love has clearly had an effect on his music writing abilities as he seems to have scrapped those heavily electronic basslines and swapped them for softer instrumentals, drawing on the more romantic aspects that were already apparent within the Metronomy back catalogue. This is certainly the case on the LP's opener, The Upsetter. The simple (and very French) acoustic guitar that runs through the entire track (resonant of that of Everything Goes My Way), accompanied by Joe Mount's blissfully high pitched vocals, channelling Bowie particularly on the chorus, makes for one of my favourite tracks on the album. I'm Aquarius, however, introduces a brand new take on Metronomy's electronic capabilities in a much more toned down manner, with unmistakably Metronomy-esque lyrics and enough shoo doo doo ah's to make you question the decade. This was the track that filled me with irrevocable excitement for the album and it certainly still remains one of Metronomy's most credible tracks to date despite its simple, effortless nature.
The album's title track wasn't an immediate grower for me but after a few listens it becomes somewhat addictive. It's drawn out intro, combining trumpets and an electronic undertone, starts it off in typical Metronomy fashion until you are hit with a very 60's, motown feel, especially a result of Anna Prior's vintage backing vocals.
Despite Metronomy's slight sound revamp, Boy Racers, certainly wouldn't sound out of place on either of the bands first two albums with no vocals whatsoever and an electronically rich instrumental. This is certainly a shock seeing as The English Riviera really lacked tracks like this.
Love Letters has certainly showcased some of Metronomy's most credible material to date, however there are some not so exciting tracks that I didn't feel were worth a mention. Although I did find some tracks disappointing, I feel like the standard of some of the better tracks redeem the album in a huge way. Ok, so it may not be Metronomy's best album ever, but they have definitely evolved in terms of sound and I look forward to find out which direction they will take in the future.
***
8.5/10
