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Metronomy – The Look

April 12, 2011 by  

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Metronomy – The Look

NAME: Metronomy
SINGLE: The Look
DATE: 18April2011

LABEL: Because Music


FIVE WORD REVIEW: Music For A Sunbleached Resort


LINE UP: Joseph Mount (composer, singer, keyboards and guitar), Anna Prior (drums), Oscar Cash (saxophone, backing vocals and keyboards) and Gbenga Adelekan (bass guitar and vocals).


WHAT’S THE STORY?: When you grace the cover of The Guardian Weekend Guide, truly you have made a friend of fame. Educated liberals and their cheery families will glance at your happy faces as they tuck into their muesli and nod approvingly at the account of your exploits. Yes, excitement is rumbling through the land as Metronomy prepare our hungry ears for upcoming album ‘The English Riviera.’ Hailed as a paean to the chilled out sounds of the beach, specifically the occasionally sun kissed sands of Torbay. Metronomy have eschewed their previous incarnation as a partypartyparty band for something a tad more stately, more like the sedate lounge of Air than their former selves.

SOUNDS LIKE: ‘The Look’ serves as a perfect introduction to their new sound. It immediately evokes the feel of an old timey, sedate English beach resort. The fairground organ noise immerses you completely in lazy days with faded beach houses as rose-tinted nostalgia. No seagulls pooping on your head and stealing your battered cod here, no no. This ‘English Rivera’ is well and truly idealised. ‘The Look’ is cool enough however to not drench you totally in aural symbolism, holding on to the light synth at it’s heart for dear life. Unfortunately, this synth at one point sounds uncannily like the jarring Casio ‘saxophone’ solos that frequently cropped up in Garth Merenghi’s Darkplace. This may ruin the single slightly for you, making you cackle uncontrollably and forgetting the subtlety of the track before this unfortunate inclusion. Possibly by this point you may even pine for the days of their obnoxiously cutting edge synth.

Worry not pop-pickers, obnoxious synth is there in spades as the Fred Falke Remix kicks in. This is a completely different beast, transporting you from Torbay to Ibiza in seconds. The organ vanishes to be replaced by some ass-shakingly funky bass and a pretty run-of-the-mill breakdown and buildup halfway through. The radio edit fares better than the lengthier original which begins to grate slightly after the first half. Following this, the Moonlight Matters mix starts promisingly and descends into a pretty danceable mess of bleeps and awkward violins that stop and start for no discernable reason. Kids and their remixes, eh?

The obligatory dubstep that no single is ever EVER without these days is passable, adding a vastly darker tone to the song. In fact it bares so little relation to the original single that had it not been billed as a remix you would be forgiven for assuming someone had slipped it onto the CD as a joke. King Krule’s remix is by far the most worthy here, staying true to the relaxed nature of ‘The Look’ with bleached out vocals and a deep, echoing vibe. The subtle soundscapes build gradually into an garage-y crescendo that remains tightly controlled. More of a remaining than a straight remix, it redeems the fact that your ears have already trawled through four (five if you count the two Falke tracks) sub-par mixes to get to this point. Well done you.

A solid offering, but points must be deducted for that god-awful Merenghi-ish solo halfway through.

YOU’LL LIKE THIS IF: You’re a fan of LCD Soundsystem’s quieter moments and sticky candyfloss blowing in your face on quaintly shabby piers.


Submitted By Nadia



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