Hearing Metronomy's debut album, Pip Paine (Pay The £500 You Owe), in 2006, there was no reason to expect Joseph Mount would blossom into a Mercury Prize-nominated artist. That album's slapdash, junkshop sounds were little indication of where he'd be by album number four.
But after releasing two albums of unique, inventive pop — 2008's Nights Out and 2011's The English Riviera — Mount has become one of British music's most exciting songwriters and producers. Love Letters arrives after an incredible run with Riviera, and shows that Metronomy are determined to remain distinctive and progressive with their music.
Despite opening a tour for Coldplay, Metronomy haven't made any sudden moves to trump their former tour mates. Love Letters throws out as many leftfield ideas as it does commercial ones, coupling the radio-grabbing, Motown-inspired title track with the minimal synth oscillations of "Monstrous." Then they channel classic Great Escape-era Blur on "Month of Sundays" and "The Most Immaculate Haircut," only to sandwich it with "Boy Racers" and "Call Me," two delicious oddballs that sound like they were rescued from the Nights Out leftovers.
Love Letters isn't the next move many expected from Metronomy following the astute pop of English Riviera, but it's a logical move and likely the best one possible for a band as imaginative, unconventional and talented as this one.
(Because/Warner)But after releasing two albums of unique, inventive pop — 2008's Nights Out and 2011's The English Riviera — Mount has become one of British music's most exciting songwriters and producers. Love Letters arrives after an incredible run with Riviera, and shows that Metronomy are determined to remain distinctive and progressive with their music.
Despite opening a tour for Coldplay, Metronomy haven't made any sudden moves to trump their former tour mates. Love Letters throws out as many leftfield ideas as it does commercial ones, coupling the radio-grabbing, Motown-inspired title track with the minimal synth oscillations of "Monstrous." Then they channel classic Great Escape-era Blur on "Month of Sundays" and "The Most Immaculate Haircut," only to sandwich it with "Boy Racers" and "Call Me," two delicious oddballs that sound like they were rescued from the Nights Out leftovers.
Love Letters isn't the next move many expected from Metronomy following the astute pop of English Riviera, but it's a logical move and likely the best one possible for a band as imaginative, unconventional and talented as this one.