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42139
Type: Album Release date: 08/09/2008
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The second album from Joseph Mount’s Metronomy project (and first that sees the band billed a trio) sees electronic disco leanings meld with a welcome sense of warmth and songcraft, immediately positioning itself alongside such recent releases as Neon Neon's kaleidoscopic Stainless Style (reviewed), Cut Copy's superlative In Ghost Colours (reviewed) and M83’s gorgeous latest, Saturdays=Youth (reviewed) – all fantastic cuts, all strongly in thrall to that decade that has informed so much musical output of late: the 1980s.

The artwork itself is a giveaway. Beneath dark clouds a fluorescent night sky shimmers above a city’s sprawl. A sheep grazes. A scarf-wearing young man, uncanny in his resemblance to Mount, leans against a sleek saloon, hands tucked in pockets and gaze raised to the heavens. The imagery is perfectly resonant of Donnie Darko’s wholesale nostalgia through Teen Wolf, Back To The Future and other canonical films of the era itself. Heck – the cover’s right there, you don’t need me to describe it for you. Graceful, cinematic and wholly evocative, it's a sweet, apposite reflection of the musical contents lying within.

Of these, 'Heartbreaker' (video) is undeniably the album’s nexus – an assured, infectious number belying the fact it wasn’t until this point Mount took it upon himself to add his own vocals to the mix. That tune makes for a single both pounding and mournful in its stride – a melancholy both poised and without pretence – recalling Hot Chip's 'Boy From School' (

video) in that respect, and the buoyant, synth-led swell of New Order and Depeche Mode (sans gloom) in turn.

Toweringly fine as 'Heartbreaker' is, it keeps good company here. The 'Nights Out Intro' & 'Outro' pair bookending proceedings make for an enveloping, inviting open and wistful, crackling farewell respectively. ‘Twixt these, the charm of mid-paced floor fillers such as 'The End Of You Too' and 'A Thing For Me' rests as much in their heart and sincerity as it does their sonic splendour.

'Radio Ladio', 'Holiday' and a motorway-themed couple all captivate accordingly, an intuitive blend of clipped guitars and radiant synth (Gabriel Stepping and Oscar Cash complete the trio, friends since their Devon schooldays) lacking the bluster that occasionally mars across-the-pond-counterparts Ratatat (latest: LP3 (reviewed) – as with Mount, also famed for their impressive remix pedigree).

The joy and longevity emanating throughout is at once jubilant and effortless: a luminescent pop-not-quite-masterpiece as much an indication one waits a little further down the road, Nights Out is eminently worthy of your time and investment.

Fantastic

Really brilliant album, a lot more hooks than their first, lots more vocal parts, still got a really different sound.

toss up between this and late of the pier for my album of the year thus far!

I love both LOTP & Nights Out

but this is my favourite (despite some flaws) - as James Skinner suggests it's the joy in it that does it for me

great record

and indeed it is a very sonically interesting record that rewards with repeated listens.

This is really good

best dance album i have heard in a while

Really is a great album

even after more than a dozen listens it still keeps me interested. Awesome

there is alot of this indie disco electro stuff

going on at the momement this year they have gone all 80s shoegazy instead of new ravey.

It sounds like its all a bit of a fad to me and wont hold out very long. I'm not really feeling it at the moment.

I think Metromony did a very nice mix of Klaxons though. I have that on a red 7" somewhere.

hrm not sure it's a fad

Ladytron, Radio Dept, Postal Service, etc all pre-empted this. I think it's natural for the alternative to explore soundscapes which conflict with whatever is monotonously mainstream. Also with everything being made and heard on computers, it makes so much sense for it to somewhat digital in aesthetic. Although this sounds like a topic which could become a weekly discussion...

They sound very English

which isn't a slag, but it's definitely not complimentary either. They're good live. Me = 7/10

yeah

I can see a progression from those bands.

There is some really good stuff around in it after having a bit of dig around.

you could say that some of those bands and this style of music came from Electro Clash and that was a bit faddy and blew over. Everything just keeps bukding and progressing anyway ts not like sounds stop happening they just move on a little bit at a time.

the singles are good

but not great. theyre not up with cut copy's 'heart on fire' or m83's 'kim and jessie' but they work well with the rest of the album. Metronomy are a class act.

I saw Joseph...

Wandering around Bestival on two separate occasions last week. Indie points plz.

I do like this album

But there's still too much filler for my liking. If you combined the best bits from this and the first album, then you'd have something pretty special

The difference

between a vacuous fad and worthrhile progression is quality albums. Electro clash produced nothing of the sort, it was just fashion. To me, the fact that Cut Copy, LOTP, Metronomy, Friendly Fires and others have made really strong LPs which will endure is evidence that the current trend for indie bands exploring electronic elements has genuine artistic merit.

1st Metronomy album is better though.

I do like this album 2

Here here! Ace live though. See them.

House Music

never really produced any quality albums until well into its lifespan, and way after what originally was morphed into something different, it produced many classic singles, though. Although electroclash obviously didn't have quite the same impact as that, it too left a slew of classic singles, and has probably been as influential in this decade as Strokes-y guitar indie has. The current trend is a direct descendant of electroclash, as has been the blog house likes of Justice/Digitalism/Simian Mobile Disco and everything that came out in the wake of that, electro house generally, bands like Goldfrapp, pop music like Girls Aloud, Richard X's productions and latter day Kylie, and all manner of things. For a scene that was a fashionista flash in the pan in 2001/2002, it's influence is pretty wide ranging considering we're still hearing and talking about music not a million miles away from it in 2008.

Well put.

In the final reckoning, music (both good and bad) is influenced by every aspect of popular culture, especially fashion. That soemthing is influential, as ectroclash undoubtedly was, doesn't IMO make it worthwhile art of itself.

The orginal point I was making was that 'indie electro disco' in 2008 is not a fad, as was suggested above, and to me these albums are testment to this. Electroclash was an influential fad.

I also think its possible to overstate its influence at the expense of earlier influences (Krautrock, New Wave, the New Romantics, Detroit House etc etc)

Please form a queue....

outside my door to beat me up, but I don't rate this album all that highly.

album of the year imo

worst album cover ever?

Is that a prius? wtf...

I'm enjoying this immediately enjoying this album

but i fear it'll be short live and in a couple of months i probably won't ever listen to it again

^ I'm a retard

^ *lie =Like

why there's not an edit button anywhere?

Really not digging this

It just seems to be a bit stock; nothing new or exciting seems to be going on, to my ears anyway.

I'd also argue...

against there being any quality albums come out of electroclash. Felix Da Housecat's Kittenz And Thee Glitz and Devin Dazzle, Ladytron's first 2, Chicks On Speed's 99 Cents, all easily equal recent efforts by Cut Copy, Late Of The Pier, Metronomy, etc. And because, unlike the current batch of albums, it was so mixed with actual dance music, there were masses of classic singles and compilations, with City Rockers and International Deejay Gigolos being the main 2 labels.

There's obviously earlier elements that have influenced bands fusing dance music and songs since 2002, but it was what happened in the early 2000s that brought a lot of those influences to the fore. Late 90s, although it was happening, it was rare to hear distinctly synthesised sounds in anything other than techno and trance; things was mainly about sampling and sample manipulation, you didn't hear many raw sawtooth tones or things that sounded like an analogue synthesiser outside of proper dance music. There really weren't many people exploring old synth pop, new wave, new romantic and classic house until after electroclash had happened. Even the current italo disco revival, interest in italo was first renewed in the late 90s by I-F, who, around the same time, recorded the song that's thought of as responsible for first kicking off electroclash and the electro revival of this decade generally.

Indie Electro Dance

I am really enjoying this "new" genre (albeit its just a mix).

Metronomy, Late of the Pier and Friendly Fires have all produced fantastic albums.

I have started liking dance music more laterly,but have always been an indie boy. These bands are the perfect combo.

Couldn't agree more

Those three albums are getting the most play on my iPod at the moment.

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