Metronomy at 02 Academy 05/05/2022
An electric performance from Metronomy last night, in another stop on the European tour for their new album Small World, which dropped in February. The electronic five-piece were supported by the post-punk Goat Girl, who introduced an array of mesmerising sounds in a nice contrast to the energetic punch that followed.
Veterans in their own right, Metronomy are a band who’ve perfected the art of stage presence, captivating audiences from the get-go. Though the band were showcasing their new album, opening with the track Love Factory, the set list was eclectic, with songs from the Mercury Prize-nominated album The English Rivera (2011) and the synth-infused album Metronomy Forever (2019). Hits such as The Bay, The Look, Salted Caramel Ice Cream and The Light had everyone singing as one, and it was a pleasant surprise to see few mobile phones dotted around. Instead, this was an audience living in the moment, enjoying the shared experience and soaking up the music. The band was tight, the lead singer (Joseph Mount) replicated the same quality of vocals that are on the records.
Things Will Be Fine and It’s Good To Be Back seemed obvious favourites from the new album, serving to complement an extensive discography. Small World features themes of existentialism and isolation, wrapped up in songs that speak of universal struggles. A softer listen with a delicate, indie pop sound, this album is a welcome change that conveys the band’s willingness to evolve. The turnout was huge, all the more upbeat with Mount’s announcement of a deep appreciation for Bristol (that was cheered). After 17 songs, chants of “encore” by passionate fans were met with three songs that included Love Letters, prompting a strong applause and a fine way to end the show.
Written by Suleiman Mushtaq
In Sully’s other news…
The 5th October 2022 marks thirty years since the Athens-based band R.E.M. released Automatic for the People, a defining album of the alternative rock scene. Although there are still many months until this date, as my final article before I leave university, I take a look at a favourite of mine and what makes this such a compelling work of art that delves into themes of hopelessness, nostalgia, loss and mourning.
Watch the road and memorize
This life that pass before my eyes
And nothing is going my way
- Find The River (track 12)
The year 1992 was a fascinating time for music. Grunge was in full flow, hair metal was firmly dead and hip-hop had begun to root itself. R.E.M. was by no means a new kid on the block, since the release of their debut album Murmur in 1983, the band was often categorised as existing in a college rock genre… a nod to the extensive airplay they received on university campuses. Except, it was 1991, and the release of the hit Losing My Religion that thrust the band into the spotlight. The single would go on to win two Grammys and the album Out of Time would pip the likes of Nirvana and Elvis Costello for the award of Best Alternative Album. With awards and recognition comes greater creative autonomy. This was clear to see with Automatic for the People, which signals a departure from the jangly rock that had become so characteristic of their work. This was their eighth studio album, and the solemn tone of melancholy reflected four musicians who were much older and wiser of the world around them.
The cryptic title was taken from the motto of a restaurant in Athens and the opening track, Drive, was a homage to David Essex’s Rock On, indicative of this re-examination of life pulling listeners deeper into emotional turbulence. The song speaks of youthful independence, but with subtle political connotations hinting towards the disillusionment that was coinciding with the presidential elections at the time. New Orleans Instrumental No. 1, a slow-paced track that exudes that feeling of uncertainty, mirrored the transitional stage of the band who felt that the door of youth was now closing and the search for a new identity had begun. This album absorbed the American landscape, taking inspiration from the varied places where sessions were recorded, such as Seattle, New York and Miami. Scott Litt, the long-term producer of the band described the album in 2017 for the news platform Salon as having “a lot of textures” and built on experimentation.
Readying to bury your father and your mother
What did you think when you lost another?
I used to wonder why did you bother
Distanced from one, blind to the other
- Sweetness Follows (track 6)
The minimalism of a single cello on Sweetness Follows guiding the listener through this moving account of death and issuing an acceptance of one’s own mortality emphasises the relatable theme of introspection amidst the ongoing passage of time. Star Me Kitten deals sombrely with the exhaustion of love, while Monty Got A Raw Deal uses the 1950s Hollywood Star Montgomery Clift as a pop culture metaphor for the unexpected tragedies that weave throughout: a reference to Clift’s car crash and gradual demise as a leading man. The ballad Everybody Hurts, a passionate argument by Michael Stipe against suicide was both raw and evocative, no doubt becoming a point of solace for many listeners. Nightswimming, which Stipe recalls as touching on a "kind of an innocence that's either kind of desperately clung onto or obviously lost” encapsulates both the beauty and sadness of nostalgia. The mantra is, certainly, less is more: Peter Buck’s acoustic guitar feels like a driving force, with the string arrangements by the bassist John Paul Jones of Led Zeppelin truly elevating melodies to reach their full potential. It’s no surprise that this record has sold over 18 million copies worldwide.
As listeners, we see the maturation of Stipe’s lyrical and vocal prowess, which has been fine-tuned to precisely meet the requirements of each song. The bassist Mike Mills (an underrated master of harmony) is maximised to perfection such as on Try Not to Breathe and Find The River. Billy Berry, a drummer who specialises in simplicity, gives tracks including Ignoreland: a groovy rhythm, without being overly burdensome. A politically active band, Ignoreland overtly illustrates R.E.M.’s frequent use of music as a medium for commentary, criticising the monopoly on the media and the undermining of social democratic values. Mills described this period in America as a “dark time”, with the lack of governmental action taken to stop the Aids epidemic feeding into the mood of the band. But it would be misleading to say that this album is all doom and gloom. Upbeat songs, such as Man On The Moon (a tribute to the comedian Andy Kaufman) or The Sidewinder Sleeps Tonite are notable earworms that break the prevailing mood and show the band could successfully make unconventional pop songs that could enter the charts.
Listening to music is a two-way process. On the one hand, we imbue meaning into songs. On the other, they serve as springboards for shaping our perception of the world. The relevance of Automatic for the People, therefore, will continue to stand the test of time: with its unique translation of emotion making it arguably their finest work.