Release Rundown – And So I Watch You From Afar, Metronomy and Sea Power

Words: Ben Forrester

And So I Watch You From Afar – Jettison
(Equal Vision)

With 2017’s ‘The Endless Shimmering’, And So I Watch You From Afar put out what I thought was their strongest set to date. For me the album felt like an updated version of their seminal second LP ‘Gangs’, pushing their heavy side into the stratosphere. I expected the next record from ASIWYFA was going to be quite a drastic departure from its predecessor, and ‘Jettison’ sure is that.

Conceived as a multimedia project that the band have been able to perform live a few times now, in its audio form ‘Jettison’ acts as a continual 40 minute suite split into nine movements. From the moment it starts, you’re brought into an entirely different landscape to what you’d expect from your usual ASIWYFA opener; piano, strings, ambient textures and spoken word. The first half of this record is all about the slow burn and though we do get a quick dart off into an off-kilter math groove (‘Lung’) or a sprightly guitar lead (’In Air’), for the most part we ride on a wave of atmospheric soundscapes, orchestral swirls and gradual rhythmic builds.

It’s not until movements six to eight (‘Submerge’, ‘Emerge’ and ‘Jettison’) that things really start to kick off and we get the rock band we all knew was hiding in the wings. Guitar wise, some of the licks soar higher than they ever have before and it’s a pretty euphoric feeling when it really starts to hit. For this to then finish on ‘A.D Poet’, a gorgeously heart wrenching strings arrangement, shows clearly that ASIWYFA want to hit every emotion with maximum impact. Intended as a counterweight to the tense social climate, there is a lot of light and shade within the arrangements here that only enhances the very human connection that consumes it.

Those that get their enjoyment from the more expansive, grandiose dynamics of post-rock will love this. Those that expect the full throttle, riff driven madness of And So I Watch You From Afar material may need to wait it out a bit longer. It’s totally worth the wait though and definitely brings out some classic ASIWYFA moments. ‘Jettison’ manages to continue to do what this band does best whilst pushing their sound into places we’ve not heard before and for this, this is a transcendently triumphant piece.

Metronomy – Small World
(Because Music)

The last time we heard from Metronomy in album form was on 2019’s ‘Metronomy Forever’; a sprawling, ambitious affair that very much felt like an amalgamation of everything we love about the project in its then 20 years of existence. After something that felt so grandiose, I was intrigued to see where Metronomy would go next. My thinking was, if they went big last time, then maybe this time they’d focus in and cut the fat.

My assumptions were correct as they hand in seventh album ‘Small World’, their most concise record to date. Concise not just in its nine track, 30 minute runtime, but also in its musical and lyrical themes. Usually ones to blend electronica, disco, indie and punk, here they gun for a simplistic indie pop sound, honing in on that traditional band-in-the-room feel.

Influentially it’s hard not to hear 80s Indie goliath’s such as The Cure and New Order seep in, especially on ‘Hold Me Tonight’ and ‘It’s Good To Be Back’ respectively. Ultimately, it has a very timeless quality to its songwriting and doesn’t get too flashy with its production or dynamics, just straight up, heart on sleeve pop songs.

On ’Things Will Be Fine’, band leader Joe Mount rewinds to his teens; when decisions and big ideas started to creep in and young adulthood was gently starting to unravel itself. This is a common theme across the record, which he beautifully links to his present life as a husband and father. This is an album that takes stock in the little things and as with most Metronomy songs, love prevails; especially on ‘Love Factory’ and ‘Right on Time’. I’ve always taken solace in Metronomy’s lighter, candid moments, so it’s really cool to see them craft a full album of them here. Shimmering in simplicity, ‘Small World’ is their most succinct and delightful album to date.

Sea Power – Everything Was Forever
(Golden Chariot)

Exploding into the mid 00’s with wonky rock songs, elaborate stage sets and costumes, Sea Power really seemed to be in a league of their own. I’d argue that they’ve very much stayed there too, growing old with grace. With a sound that has flourished into being both lush and anthemic, you can count on Sea Power to deliver with consistency and distinctiveness.

‘Everything Was Forever’ comes five years on from the sparkling synth pop tones of ‘Let The Dancers Inherit The Party’. Having particularly loved the crisp, glittering production of that record, I was hoping for a continuation of the rich, warm textures that swirled across it. If anything, Sea Power go even bigger, with some of their most widescreen material on show.

’Scaring At The Sky’ comes in as a bit of a curveball, opening the record with warming, atmospheric indie folk stylings. It’s a beautiful easing in and definitely throws you off the scent as the next two tracks (‘Transmitter’ and ‘Two Fingers’) come in with stadium sized melodies and euphoric synth lines that feel as if they could move mountains. From there it’s a beautiful mix of psychedelic pop and dreamy indie, with just the right amount of post punk slotted in (the latter sounding particularly energising on the snappy ‘Doppelgänger’).

As always, Sea Power deliver a well balanced pallet of sounds with much elegance – I love, for example, the way ‘Fear Eats The Soul’ elegantly leads into ‘Folly’, a hauntingly beautiful and cinematic piece that manages to move into this electronically infused chamber pop track that still has an ethereal tone, but moves into a new direction. It’s a really well structured record that manages to flow so gracefully, despite its ever moving dynamic changes. In conclusion, ‘Everything Was Forever’ is a bold and beautiful effort that sounds like a band at a comfortable place in their career.

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Live Review: Metronomy at Manchester Academy 9 November 2019

Words: Andy Hughes

I think it’s fair to say that ‘Salted Caramel Ice Cream‘ – the first smash-hit single from the latest Metronomy record – may very well be single of the year. Funkier than ‘Funky Town‘, it’s a bouncy, feel-good arse-shaker with lyrical wordplay more infectious than its namesake. Taken from ‘Metronomy Forever’ – their sixth album, following on from 2016’s ‘Summer 08‘ – on release we described the record as “a multicoloured swirl of sound that goes from experimental interludes to lo-fi dance tunes“. Given the above, it’s been on regular rotation in our household for the past two months.

Saturday night in Manchester and we find ourselves at the Academy – The bar rammed, the room beyond it filled with punters and excitement levels going into overtime. The familiar sound of church bells chime, as per the opener from ‘Metronomy Forever’, signalling the arrival of the band, greeted by the biggest of cheers.

‘Lately‘ opens things up sharpish and it’s LOUD, the rumble catching us near the back of the room as it builds and builds towards its rapid close. “How has everybody been since we last saw you?” Asks main man Joseph Mount ahead of big single ‘Wedding Bells’, as everyone not attached to a drum stool bops along on the first verse, becoming dancing silhouettes against the pink and blue lights. From the same album, the driving ‘Whitsand Bay‘ sees people in the crowd up on shoulders and getting stuck into it just five songs in.

There’s a lot to love about Metronomy and it’s pretty much smiles from the opening wedding bell chimes. From the team outfits (matching white jumpsuits from our vantage) to the Mic stands and instruments of keys players Michael Lovett and Oscar Cash both getting moved majorly close to each other in a Reeves and Mortimer fashion on ‘Lying Low‘ (as if they’re magnetised). They all look like they’re having a blast too – Mount clapping and boogying along on instrumental number ‘Boy Racers‘, drummer Anna Prior all smiles throughout, keys player Cash appropriately wigging out when given a solo spotlight and bassist Olugbenga Adelekan shooting a hand in the air on ‘Walking In The Dark‘, as the lights shine bright, East 17 stylee.

Everything you’d want to hear from the new album gets an outing, with the garage rock vibes of new single ‘Insecurity‘ being an unexpected major highlight. The aforementioned ‘Salted Caramel Ice Cream‘ comes out later on, chunky as the chips at Toby Carvery, sped up and sounding rather large in the Academy. It’s available at the bar too (actual ice cream that is – merch you can eat!)

“We have a particular love of Manchester.” Mount tells us, asking us to make ambient duck sounds if we so wish ahead of the next number. Having rinsed 2008 album ‘Nights Out‘ just as much as ‘Metronomy Forever‘ these last few months, it’s a joy to hear ‘The End Of You Too’. The stage soon becomes a blur from smoke, as bodies clamber on top of one another amongst the audience, those on shoulders with the best view. Expected big vibes occur with the opening of ‘The Look’ as the whole room becomes unglued. A couple in front are the two most precious in the room, grinning from ear to ear, oblivious to everyone else in attendance as they cut a rug and vibe off one another.

We’re informed that Metronomy had the worst day of their lives recently, having to spend it in that London prior to their Manchester visit (easy ammunition for the room full of Northerners) – in contrast to many in attendance who would no doubt thank the quintet for the best night of their lives. Howling ambulance sirens wail prior to their swan song, Auburn firework lights glowing as they build up the encore of ‘Radio Ladio‘ tremendously, sending the crowd home delirious from the thumping euphoria.

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Album Release Rundown – Pixies, Piles Of Clothes, (Sandy) Alex G and Metronomy

Words: Ben Forrester

This morning I was shoved onto the busiest tram in the world, had to sniff a dudes arm pit all the way into town against my will to then get a soaking from a passing lorry the minute I stepped on the pavement. I have realised that it is firmly Autumn. The weather is getting shitter and everyone’s attitudes are getting shitter, especially mine. So, thank fuck for new music Friday. The second release week for this September offers us the much needed returns of some old, reliable friends. Remember folks, if you dig what you heard, get online or get in the record store and get that shit PICCCCKKKKED UPPPP!!

Pixies – ‘Beneath the Eyrie’ (BMG/Infectious)

It’s been 15 years since the Pixies decided to get back in a room together and kick out the jams that have inspired generation upon generation of alt rock nerdo’s. ‘Beneath The Eyrie‘ is the album to be released in the five years since 2014’s big comeback and sees the band return to Rock Producer of the moment Tom Dalgety to help steer the ship. What I wanted from the Pixies is a record that is undeniably them but still pushes them forward in terms of musicality and production. This is exactly what ‘Beneath The Eyrie’ does. Recent singles ‘On Graveyard Hill’ and ‘Catfish Kate‘ are masterclasses in being the Pixies; I can’t stop humming the bass line of the former and I can’t stop singing the chorus of the latter.

Not to discredit the band’s previous two records, but the Pixies sound so comfortable in what they’re doing here and melodically this is so sturdy. Of course, the band push things forward with songs like ‘In The Arms Of Mrs Mark Of Cain‘ and ‘Silver Bullet‘, both sounding like they could soundtrack a Bond film. It’s clear that the band have reached full comfort with their producer and as a group, which has given them more space to play around with different genres and get back to mixing up styles again. ‘St. Nazaire‘ brings desert rock, blues and punk in a delightful mash and ‘Death Horizon‘ is a simple, acoustic campfire singalong, both treading fresher ground. So, you have this dance of songs that on the one hand are essential Pixies and on the other form new sonic shapes we’ve not seen them move into before. It balances focus and playfulness extremely well and without a doubt holds the strongest material they’ve penned this decade!

Piles Of Clothes – ‘Three And A Half Songs’ EP (self released)

Andy Crowder has been melting our hearts for the best part of five years with his sincere indie folk project Piles of Clothes. ‘Three And A Half Songs‘ does what it says on the tin and gives us three new tracks and a lovely little prelude to ease us in and make up the half. If you’ve seen Andy in a live capacity, you’d know that he strips things down to just vocals and guitar but on record he throws everything into the pot to concoct grand, sprawling compositions. ‘Mary‘ is everything I’d expect to hear from Piles Of Clothes as it reaches a crescendo of lush strings, glockenspiel twinklings and gorgeous harmonies. This is on top of Andy’s incredible knack for telling a story and bringing you right in to tell you his tales.

‘Bluesy Boi‘ is another huge piece but instead of his usual luscious folk pop stylings, this sees Andy pick up the electric and make a much more dynamic indie rock sound; there’s even a guitar solo in there. I love hearing a new Piles Of Clothes release because I know how much care has gone into its making, but I have to say it’s great to hear Andy stay true to his live set up on the intimate acoustic closer ‘Hope Yr Happy‘. Piles Of Clothes steps things up on this record, sticking to what he knows but with a few tasty extras to make another beautifully crafted release from a true songwriting talent.

(Sandy) Alex G – ‘House of Sugar’ (Domino)

It was back in 2014 when I first heard Alex G. I heard ‘DSU‘, the record that broke him into the alt-rock scene and thought it was a stellar set of lo-fi indie rock tunes. This is a formula Alex has kept with since, whilst expanding his production knowledge, getting weirder with each new record. ‘House of Sugar‘ is album number eight from the Pennsylvanian boy wonder and takes off from where 2017’s ‘Rocket’ LP left off (pun a hundred percent intended, Ed).

This is still an experimental and very open minded record as most of the vocals are reversed or pitch shifted with musical shifts from off-kilter electro pop to the usual college rock warmth. The main difference here is how Alex blends these sounds together for an ultimately more concise album. ‘Rocket‘ had some good tunes for sure, but overall it just felt a bit overcrowded with different ideas which lead to its flow being disrupted somewhat. I mean, sure there’s a few tunes where he sounds like he’s just messing around on fruity loops in his bedroom (‘Near‘/’Project 2‘), but when he knuckles into a song structure, you get stuff like ‘Gretel’ and ‘Hope’ which are flowing with beautiful melodies. ‘House Of Sugar’ might not be his masterpiece, but he’s getting back on track and has made his most likeable record to date.

Metronomy – ‘Metronomy Forever’ (Because Music)

When I first saw this album title, I felt it was fitting. Metronomy has seen its creator Joe Mount pour everything into the 20 years of its existence, so it seems right for album number six to be a mantra of the past, present and future of this project. What is interesting here is how ‘Metronomy Forever‘ manages to be their longest and most ambitious album but is constructed to be consumed as a whole, something Joe has always done so well on previous records. The idea here is to treat this album like an hour or so listening to a radio station. There’s a variety of different songs to hear but each songs is designed to work as team to help motivate and stimulate your mind as you go about your day.

My first introduction to the band was on 2009’s ‘Nights Out‘ LP and what I loved about it was how it combined muted, punk guitars with off kilter electronics so I was chuffed to hear that sound make a welcome return here on ‘Insecurity‘, ‘Wedding Bells‘ and personal highlight ‘Lately‘. Naturally the rest of the album is a multicoloured swirl of sound that goes from experimental interludes to lo-fi dance tunes with even a stab at writing 2019’s answer to ‘Funky Town’ on groovy new single ‘Salted Caramel Ice Cream‘. I really like the kitchen sink approach here, it’s a body of work for sure but you can tell Joe has looked into the finer details to make up the whole. ‘Metronomy Forever‘ requires your patience but with it comes a bucket load of good tunes that very much enforces the staying power of its title!

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