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METRONOMY

The follow-up to 2016’s ‘Summer 08’, ‘Metronomy Forever’ features 17 tracks. Its length is born from a desire for breathing room, from not wanting to stuff the hits together like a bouquet of petrol station roses – a modern way of listening to music. Metronomy’s innate skill for blending off-kilter funk, energising club vibes and esoteric pop is interspersed with some mood-setting, glistening and melodic electronic tracks.

The band’s leader Joseph Mount called upon a variety of inspirations for this album. Most notably, he wanted to replicate the feeling of listening to the radio, with an infinite quality, sumptuous songs of different styles, ever rolling, helping to lighten your mood. Moving away from the bustle of his former Parisian home to take up residence atop a hill in the garden of England had an impact, infusing the album with a sense of tranquillity and a calm joy that reflects the relative happiness of his existence.

Also influential was time spent working on Robyn’s critically adored ‘Honey’ album, with a similar feeling of emotional, intense, carnal mania informing songs such as ‘Sex Emoji’ and ‘Salted Caramel Ice Cream’.

‘Metronomy Forever’ in name represents something looking backwards and forwards simultaneously, like Janus, something fated and eternal. You were made from dust and to dust you will return, that sort of thing.
“What happens is when you’re making music and you enter a world where you have achieved some sort of celebrity no matter how large or small you start to think about yourself in terms of legacy and what you’re going to leave behind,” says Mount. “And then you realise that’s limited to the interest people have in you. In the end I feel completely comfortable with it. The less importance you place in any art the more interesting it can become in a way… I’m making music, I’m going to do some concerts, I need to feed my children”.


STAFF COMMENTS

Barry says: From tender, lightly accentuated ballads and brittle melodic synth lines to huge, bombastic pop heft within the space of a couple minutes, and without batting an eyelid. It's classic Metronomy, brimming with confidence and skill, but tastefully underplayed. Metronomy forever!

FORMAT INFORMATION

2xLtd LP Info: Collector Double Vinyl.
8 page gatefold sleeve.
Double 140 gram black vinyl.

2xLtd LP includes MP3 Download Code.

Metronomy

Love Letters - Soulwax Remix

    THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

    Limited etched vinyl - 500 copies only.

    Metronomy, the effective alias of the talented Joseph Mount, have thus far released three albums, starting with the jagged electro manoeuvres of their debut ‘Pip Paine (Pay The £5000 You Owe)’, through to their two albums on Because, ‘Nights Out’, where Mount first sang, and last year’s brilliant Mercury-nominated ‘The English Riviera’. As a pop group, Metronomy that are more Four Tet than Fab Four, though with a sense of adventure that would’ve made the Fabs proud.

    Their outing under the Late Night Tales banner journeys through the inspirations of the bands’ ever moving sound - along with a few surprises. Mount’s old favourite Autechre is present and correct, but then so are Kate and Anna McGarrigle and the Sun Ra of hip hop Sa-Ra Creative Partners. Joining Sa-Ra on the hip hop front, we’ve got Tweet’s ace ‘Drunk’ from her Hummingbird album alongside OutKast ‘Prototype’, spiced with some Doctor Octagon.

    For pure pop, they don’t come more refined than Alan Parson’s ‘Eye In The Sky’, who is buffeted by outbreaks of unsettling weirdness, among them the sadly departed Mick Karn’s supple bass figurines on ‘Weather The Windmill’ or Tonto’s Expanding Head Band - the guys that brought the funk to synthesizers with Stevie Wonder - and ‘Cybernaut’. We also love Alessi Brothers 'Seabird' - pure 70s pop from the same album that gave us 'Oh Lori'.

    And just when you think you’ve got it figured, Pete Drake arrives with his 1964 pedal steel novelty hit ‘Forever’. This is a maze rather than a journey. Naturally enough, there is the Late Night Tales special with a sparkling Metronomy rendition of Jean-Michel Jarre’s ‘Hypnose’.

    We’ve always had a soft spot for Devon and her cobbled street delights, but seen through the prism of Joseph Mount, it takes on a new hue that makes Brigitte Bardot and that other, lesser, Riviera seem somehow pallid. To paraphrase Buzzcocks: another music in a different riviera.

    STAFF COMMENTS

    Philippa says: Another fantastic compilation in this series. Takes in hip hop, R&B, prog rock, soft-pop, electronica, folk and much more.

    The follow up to 2008’s critically acclaimed "Nights Out", "The English Riviera" is a sonic progression of epic proportions and affirms Metronomy front man and producer, Joseph Mount, as a rare British talent. Since "Nights Out", the band have swollen to a four piece with new members Anna Prior on drums, Gbenga Adelekan on bass, original member Oscar Cash on keys/sax, and Joe himself on vocals, keys and guitar. This expansion of personnel is reflective of a new record that is mapped by vast soundscapes, incredible depth and warmth, and big pop hooks

    Part love letter to the area of Devon coast Mount grew up in and part concept album about his own semi-fictionalised vision of "The English Riviera", the tone for the album is set by the opening sounds of seagulls, distant waves and a music hall string quartet. However, any notion of whimsy is swiftly dispelled, as the seismic bass line of "We Broke Free" shudders and ushers in waves of layered guitars and synths.

    Characterised throughout with a sense of warmth and richness, "The English Riviera" is in parts reminiscent of seminal 1970s West Coast studio albums from the likes of Fleetwood Mac and The Eagles, but due to Mount’s studio wizardry, the record sounds vibrant and entirely of its time. Few other albums released this year will so successfully transcend such a plethora of influences and ideas and form such a coherent body of work.


    STAFF COMMENTS

    Martin says: If you were to distill the idyllic English seaside experience into musical form, this is exactly what it would sound like. It kicks off, appropriately enough, with the plaintive sound of seagulls, setting the mood perfectly for 'We Broke Free', Joe Mount's politely voiced swoon soaring over kitsch fairground organ organs and distorted guitars. The whole LP is a leftfield pop delight, an endlessly pleasurable earworm, a nostalgic smile over a lost, holiday romance; as Mr. Whippy, nicked chips, gaily painted beach huts, inappropriate palm trees and gentrified fishing communities as it gets. A sonic Torbay, basically.


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