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Despite the press release boasting of them as “Britain’s most-loved, quintessentially English, modern pop act” and seeing their name everywhere from the Daily Express reviews section (the only page on which they aren’t talking about the weather) to ‘Modern Dog’, I’ve yet to knowingly hear a note of Metronomy’s music. It's very possible I’ve had ...

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REVIEWS

I’m Aquarius by Metronomy
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8/10 Clinton Staff review, 13 December 2013

Despite the press release boasting of them as “Britain’s most-loved, quintessentially English, modern pop act” and seeing their name everywhere from the Daily Express reviews section (the only page on which they aren’t talking about the weather) to ‘Modern Dog’, I’ve yet to knowingly hear a note of Metronomy’s music. It's very possible I’ve had it unwittingly pumped into my ears when I’ve not being paying attention but I’ve never come away thinking, "Ahh, that's what “Britain’s most-loved, quintessentially English, modern pop act” sound like."

I sort of had a guess and  it turns out wasn’t too far off the mark, slightly less ‘urban’ maybe. Not that this comeback single is particularly ‘street’, being more Hemel Hemstead than inner city. It starts unpromisingly when the singer fails to pronounce his ‘t’s properly in the opening verse and should have been made to re-do it. Once it gets going, though, it starts to build pretty nicely. The ‘shoop doop’ female vocals shouldn’t work on paper, but music isn’t written on paper (yes it is?) and it does (work).

Anyway the male vocals half sing, half scat, the electronic backing is minimal and it all sounds rather good. I’ve no idea why but this song reminds me of stepping into a sunny kitchen in order to pour a bowl of cornflakes before setting off on a car journey to catch a flight from Gatwick to Benidorm. Does that help anyone? Probably not.

On the B side you get ‘She Grows’ which again is a simple electronic tune that relies on the listener engaging with the tales coming out the mouth of the singer rather than any particularly clever production. Finally, there’s an instrumental version of the lead track which, when stripped of the vocals is quite a haunting little electronic tune. 




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