Album Review: Late Night Tales - Metronomy

​Metronomy's third album, seaside inspired The English Riviera, never quite outshone their second album as far as I'm concerned. The slightly grimy autumnal melancholy of Nights Out felt far more British than the riviera to which the last album harks... That album upon which so many critics slathered patriotic love.

Which is not to say it isn't a good album, just a symptom of press arriving at a party already in full swing. The English Riviera won Joseph Mount and his increasingly band-shaped band a lot of applause. It is little surprise then that the glistening coastal feeling runs through much of their new compilation for Late Night Tales. The Late Night Tales albums tend to exhibit a little incorrigible wildness - an unwillingness to behave that is all too absent here. If they are created for nights of acid and too much cannabis then Metronomy appear to prefer to drink fine wine and enjoy the white powder.

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​Late Night Tales - Metronomy

In other words this is the smoothest Late Night Tales in a while (Music For Pleasure aside, of course), and it comes as something of a relief on that front. Recent entries to the series have been very strong but each album can feel a little dense.

But here Mount opens with Outkast's 'Prototype' - a track that still feels as instantly fresh and clean as the day it came out. It is a shame André 3000 is on semi-permanent sabbatical because just one of his productions feels so staggering on its own. The transition into Tweet's 'Drunk' is perfect - thick and unbelievably slow, like the power got cut from the record player but it somehow just about kept playing. Throw in Sa-Ra Creative Partners' jazz trumpet and clattering percussion on 'Cosmic Ball' and you have quite the album opening.

There are similar clutches of greatness elsewhere too. Alessi Brothers' 'Seabird' is dizzying gold plated-folk, a slightly psychedelic take on Rumours-era Fleetwood Mac. It shouldn't be able to smoothly transition into Autechre's glitch-ridden 'Fold4,Wrap5' and yet somehow it does.

The album closes with a maudlin duo of folk records - Herman Düne's damaged 'Winners Lose' and Cat Power's terrifying 'Werewolf'. It's an end you wouldn't dare stay past even if you could - if your late night party guest is playing heart-stopping blues music then it may be time to make an exit. As a close to Metronomy's mix album though it is pretty much spot on.

Late Night Tales ​by Metronomy is released on Monday, available to pre-order from Amazon.co.uk on CD, LP and MP3 [affiliate links].

Album Review: Fabric 59 - Jamie Jones

Jamie Jones' album Don't You Remember The Future was reviewed on BlackPlastic.co.uk two years ago and it felt a bit like drinking Diet Coke when we'd rather go all out and fill our gut with The Real Thing. It's an accusation you could level at a fair number of contemporary artists but it's a fair one - who wants to settle for 'not quite as good as...'?

Jones' Fabric album is a bit of a surprise. Firstly because it isn't the fairly minimal tech I've come to expect from artists associated with Crosstown Rebels, the label Jamie calls home. But even more surprising is that fact that it is the most easy-going, celebratory Fabric albums in ages. But this isn't a thinking person's mix - the track listing is pretty obvious - but it's a great collection of disco and house cuts to soundtrack a party to.

There is a mixture of newer and older records on Fabric 59 but Jamie clearly isn't afraid to be obvious. There was a time when finding a new mix album without Felix Da Housecat on it would be more difficult than with. Despite that Jones drops 'Madame Hollywood', from Felix's defining Kittens and Thee Glitz LP, immediately before plunging into the reverb heavy 'Body Shiver' by Waifs & Strays. Thankfully it has been long enough since Felix mania that it just feels great to hear it again. Similarly Metronomy's mix Sebastien Tellier's 'La Ritournelle, shows up in the mix early on.

Fabric 59 is at its best in the closing third. Crazy P's 'Open For Service' is bonkers disco that feels every bit as classic as it aims to, with the most glamorously over the top chorus I've heard in ages. Holy Ghost's mix of 'Goblin City' by Panthers is the show stealer though. It's another track that has been around for an age but it never seems to have quite as much recognition as it deserves. If you haven't heard it you need to and it is here, at eight-minutes long, in pretty much full form. It melds house and disco like champagne and liquid gold, the inevitable guitar solo peak and subsequent break being one of the best things to feature on any Fabric album.

The pace is kept up through to the end. On Oppenheimer Analysis' 'The Devil's Dancers' Jones drops a track that harks back to times when the future sounded like the future rather than the past (just don't tell anyone it's only six years old). Soho808's 'Get Up Disco' is exactly as it says - a gorgeous loose rhythm and sparkling melody - and the stark 'Fear of Numbers' by Footprintz rounds things out.

Fabric 59 is almost in danger of being undermined - Jamie Jones has played it so obviously that it almost veers into parody, yet the final third of the album is so gorgeous I can't help but celebrate it.

BP x

Fabric 59 mixed by Jamie Jones is out now, available from Amazon.co.uk on CD and MP3 [affiliate links].

Single Review: Not Made For Love - Metronomy

Metronomy have no right to be this bloody good. Last album Nights Out recreated the Metronomy sound in the form of a band with proper vocals and everything - you only need to take one listen to the last Simian Mobile Disco album to get a feel for how well (or not) that can go. But Nights Out surprised because, actually, it wasn't shit. In fact it was rather good.

And now this: basically three tracks (plus a stack of remixes) of sheer, wonky-pop-gold. 'Not Made For Love' sounds like Metronomy's best Hot Chip impression and golly does it sucker-punch BlackPlastic with it's slow, soulful hook and dough-eyed vocals. 'Do The Right Thing' recalls Nights Out's 'Thing For You' with it's falsetto vocals, only this time the whole song feels like it has been ground down to dust by dark winter nights and walks home following miss-understood romantic exchanges. Finally 'What Do I Do Now' is a completely bizarre electronic trip. With distorted vocals and a driving synth it feels like the actual soul of a spurned computer game, pining for a lost love but unable to understand it's feelings.

The whole EP feels like music that is being more honest than it intends. It may set out to make you dance but it ends up crying on your shoulder instead. Metronomy have just created the perfect soundtrack for those contemplative autumnal evenings now the nights are drawing in.

The remixes may be ultimately surplus to requirements but the package certainly is not. A perfect way to keep warm as autumn draws in.

BP x

Not Made For Love is out now, available from Amazon.co.uk on LP and MP3 [affiliate links].

Comment: The Mercury Music Prize

For the most part BlackPlastic believes that music award ceremonies are for chumps. Like every good rule there is, however, an exception. And that exception is the Mercury Music Prize.

What makes the Mercury Music Prize transcend that crappy sycophantic lip-service of other award ceremonies is its simplicity: one album. That's it. By focusing on that at the expense of lifetime achievement awards, best newcomer, best use of women wearing gymwear in a music video and longest speech at last year's event it gets to the point and is much better placed to judge how has achieved greatness in the past year.

There are still obviously decisions BlackPlastic would disagree with. Particularly M People (1994), Talvin Singh (yawn, 1999) and Ms. Dynamite (WTF? 2002). But the discussion and the deliberation is half the point.

With the shortlist announced on 21 July here are our picks for who may / should get a nod (in no order of course):

The Horrors - Primary Colours
Art-y but relatively approachable and safe, Primary Colours was the shock-horror-it's-actually-alright album of the year when it was released. BlackPlastic loves it and tips it for the win.

Late of the Pier - Fantasy Black Channel
Noisy, unique, dark, mysterious - Late of the Pier's epic début had BlackPlastic gushing when it was released last year. It just sounds so fresh and new. In our opinion Fantasy Black Channel SHOULD win, but it probably won't.

Glasvegas - Glasvegas
Not BlackPlastic's cup of tea but they manage to come across as creative whilst still being a firm Dad favourite. It certainly did Elbow no harm.

Jack Peñate - Everything Is New
The other shock-horror-it's-actually-alright album for this year. To be fair, Jack's début was actually pretty enjoyable (certainly better than the Horrors' first effort) but this is clearly better. An album that drips in hot summer evenings, it took Jack from being an also-ran, coming in second place to Duffy and Adele, and gave him a genre all of his own.

Kasabian - West Ryder Pauper Lunatic Asylum
They're like a rowdy British version of Kings of Leon and from a judging point of view that can be no bad thing. Plus, you know, they're actually alright.

Metronomy - Nights Out
With added vocals and a pop sound offensive enough to irritate people on the next pod in your office Metronomy's sophomore effort feels like the Streets for the late 'noughties'. To deny then a place on the shortlist would seem churlish.

James Yorkston - When The Haar Rolls In
Beautiful and haunting and lapped up by the critics James is one of those chaps that most mere mortals have never heard of, let alone invested time and money in. Obviously if this was the late nineties, a time when you had to be unknown to even your mother if you wanted any real chance of winning, Yorkston would be a dead cert. It isn't, and he isn't, but it's still good enough that he could sneak a win.

Florence and the Machine - Lungs
Currently in vogue and universally loved so it seems a bit of a no-brainer for the shortlist, but BlackPlastic would be surprised if Lungs wins on the night.

Friendly Fires - Friendly Fires
Radio friendly and inventive, Friendly Fires make better house records than any other 'band' BlackPlastic has heard of, really challenging what people consider rock music to be. It's hard to find people that don't get at least a bit excited by their single 'Paris', and that has to mean something, right?

La Roux - La Roux
Total codswallop in BlackPlastic's opinion but since when did that matter? Bad edgy pop for the masses. She probably has enough attitude in her quiff to give her the edge over Little Boots and if they were both nominated it would be a bit boring, wouldn't it?

Bar for Lashes - Two Suns
Yawn. Loved by journos and students, probably. BlackPlastic doesn't care but she's bound to get nominated anyway.

Lily Allen - It's Not Me, It's You
The pop princess it's okay to like, this will help justify press coverage but it would be as ridiculous as, ooh... Ms Dynamite or M People winning if this got the prize.

Okay, so we are clearly missing the random token jazz an classical albums but we just aren't knowledgeable about those genres.

You can check the BBC's coverage of last year's Mercury Music Prize for footage of the winning announcement as well as interviews and performances.

Did we mention we thought the year Dynamite won was stupid?

Any thoughts?

BP x

P.S. We'll be back to discuss the shortlisted albums and predict the winner once the list is confirmed.

Five Electronic Albums of the Year

Putting together these lists is always exceedingly difficult. Usually just remembering every record of note from a year is a challenge in itself but to pick just a handful and bestow some sort of special honour on those is practically impossible, this year more than most. For this year has seen some utterly fantastic records. 2007 was a great year due to a few select releases whereas 2008 had a massive breadth of fantastic releases.

A few that deserve mention that fail to make our list: The sophistication of Morgan Geist (and Junior Boy's Greenspan's) sophisticated Double Night Time. Midnight Juggernauts' Dystopia, which successfully paints another chapter in mixing rock music with dance. Metronomy's beautifully wonky Nights Out, a criminally overlooked pop re-birth. Gang Gang Dance's Saint Dymphna didn't even get a BlackPlastic review (we struggle to catch them all) but trust us - it barely misses out getting in our top five, as do the similarly unreviewed Third by Portishead and Los Angeles by Flying Lotus. The Presets grew to be more than just an also ran with Apocalypso - showing a new level of emotion that was missing off of their debut. M83's ode to Donnie Darko teenage kicks, Saturdays = Youth was another terrific addition to Anthony Gonzalez' cannon - it may lack Before The Dawn Heals Us' more ecstatic moments but it did demonstrate an growing level of focus and a refinement of the overall sound.  Hercules & Love Affair's eponymous album has been credited with the rebirth of disco - BlackPlastic isn't sure that has actually happened but that's nothing to do with the quality of this album, which has a level of maturity and sophistication that should ensure it a place in your collection next to Morgan Geist's 2008 album. Hot Chip failed to make the list, possibly purely due to their own desire for experimentation - in places Made In The Dark matches anything the group have previously released, it just suffered for being unfocused (but hey, focusing IS difficult in the dark).

So here is what DID make the list:

5. Hlllyh - The Mae Shi

Not a perfect record by any stretch, but that is the point in the Mae Shi.  Much to the bemusement of his companions BlackPlastic had the luck to catch them live earlier in the year and it was an unfocused, chaotic mess.  And it was fantastic.  Hlllyh is a record that does everything at once and just about makes it work and for that it deserves applause and love.  It's a rambunctious, noisy, angry-punk-pop-hippie-love-in and it gets a big hug from us.

4. Crystal Castles - Crystal Castles

As BlackPlastic suspected back when it was reviewed, Crystal Castles' debut was an album that gets better with repeat listens.  Lonely, cold and yet never anything other than totally, uncompromisingly experimental, Crystal Castles have pushed the envelope for all those within the chiptune genre.

3. Friendly Fires - Friendly Fires

A record that is already seemingly suffering from the "Oh I'm slightly embarrassed I got so excited about that one" treatment for some journalists: Fact magazine's songs of the year list contained a snide comment about this album's failure to 'save indie dance'.

BlackPlastic loves Fact but to that we say a big "fuck you" because this album is so platinum-five-stars it's not even funny. If it has failed to set the world alight it is the failure of Fact, BlackPlastic, music publications everywhere and the general public at large for choosing some talent-less twat off X-Factor EVERY SINGLE TIME. It certainly is not a reflection of the ten gloriously produced punk-funk house-jams hear: this is a record to skip a heart beat too.

2. Fantasy Black Channel - Late of the Pier

Like waking up from a 70s slasher porn flick nightmare Fantasy Black Channel sounds like Bowies' imagined future.  The sound is far more cutting edge than the Klaxons managed on their debut and yet it is filtered through a glorious haze of thick chunky basslines from the aforementioned decade that just make it sound sexier than their contemporaries.  By the album's close, Fantasy Black Channel should have you on your knees with a lighter in the air.

1. In Ghost Colours - Cut Copy

If, for some reason, you are in any doubt as to what makes Cut Copy one of the best acts of our time go and grab their superb So Cosmic mix (alternative link) and, if you can't wait, scan forward to 29:30, where they mix Fleetwood Mac's 'Never Forget' with Lifelike's 'So Electric' and create a hands-in-the-air-tears-in-my-eyes anthem that deserves it's own release, the warm electronic waves of Lifelike's tracks gradually surrounding Stevie Nicks' vocals in a beautiful swell.  It is this mixture of old and new that makes Cut Copy so utterly charming, their ability to combine seemingly disparate sounds into one fantastic piece of music, and in the hands of the DFA's Tim Goldsworthy this ability truly shined.  Just check the glorious combination of the shoe-gazing guitar line of 'So Haunted' with the floating-in-space chorus and the final New Order-esque outro.

What's more, In Ghost Colours is a beautifully sequenced album. Ditch the bonus track bundled with the UK CD version and you have a record that fits together just perfectly, tracks bridged with a series of not-inconsequential interludes.

Cut Copy's debut, Bright Like Neon Love, was a fantastic record.  That In Ghost Colours represents a complete step change in everyone's perceptions of their abilities is a testament to the record: You won't hear a better collection of electronic pop songs from 2008.

BP x