Review 8

METRONOMY - LOVE LETTERS

BECAUSE MUSIC 2014

BY OSCAR NICHOLAS

The Devon four piece, Metronomy, have produced their analogue fuelled, fourth album Love Letters. As a follow up to their masterpiece The English Riviera, the record is all together slower and more emotive. The album shows why the band have such a status in pop, with a subtler vibe. Still with the same unique Metronomy, indie/electro feel, the LP has added funk and motown influences, which shows a different side to the band.

The first single released from Love Letters was I'm Aquarius, as an album teaser. It has been on repeat on radio music shows since it emerged and is gaining more and more attention. Catchy female vocals loop: 'Shoop doop doop ah' behind a bassy analogue organ. Good chilled indie that progresses with texture.

Opening track The Upsetter is frankly absolutely gorgeous. Every layer adds to it perfectly and subtly. It sways through analogue synths and acoustic guitar that build behind soft vocals sung as a tenner an an octave higher than usual. It has a hum to it. The track alters the stereo direction of Joe Mount's vocals, with an added clean guitar solo that pushes the sound into something superb. The Upsetter feels just as strong as any of Metronomy's hits such as, The Bay or Heartbreaker. 

Tittle track Love Letters is the highest velocity record of the LP. Its Motown gloss and catchy beat makes it a great indie dance anthem. It starts slow until the songs tittle booms through female vocals, and Mount's voice passionately sings 'Love letters all I see, On every day I read'. The track then transgresses to a perfectly implemented trumpet solo (don't say that to often these days).

Metronomy are set to tour the album and play festivals. Although it hasn't felt like they've been away Love Letters is a comeback for the band. The album was recorded entirely in analogue at London's Toe Rag Studios, notorious for their old school approach to production.

The move to tape tracks didn't stop Love Letters from sounding fresh. The classic instrumental track Metronomey started with is present in the LP with Boy Racers. A warped, bass, filled rhythm sits below smooth drums and altered key effects create a catchy refresher within the record.

A slower more sensitive collection of tracks close Love Letters: Call Me and The Most Immaculate Haircut play with a more alt balled style composier.

Reservoir the ninth song on the record has the repetitive listen touch about it. Almost sounding like a eighties arcade quest it bounces Love Letters to its penultimate beat. Weather you want to relate 'reservoir' as a comment to Metronomey's previous album, The English Rivera, is for Mount's brain to decide, the track is beautifully composed and ironically happy as its digital roots.

Just as it started Love Letters finishes with a slow, simple track, Never Wanted. 'But it gets better' is sung over a bass riff and chirpy guitar flicks until the direction turns to a more misty, ambient sound and then gets dropped into its fuzzy analogue closure.

Although Love Letters could be called a less impactful album compared with Metronomy's previous compositions, the LP feels like a real and more mature side to the band. A step up from indie niche pop to full international status.

Rating: 8