Record of the Year 2014. Metronomy - Love Letters.

Forget the Mercury Music Prize album of the year. The album of the year is Metronomy's Love Letters.

It is forty one minutes of sheer delightfulness, each note a joy to the ears. It wanders into view with the opening track The Upsetter; Joseph Mount's delicate lead vocals straining the line: "I'm gonna beam my message to ya". There are gaps and spaces in between the notes throughout this album, allowing a fluidity which allows for full artistic license.

There are also moments where you want to know what on Earth is going on. The growing guitar solo at the end of The Upsetter causing you to think it might have got there by mistake.

Long term followers of Metronomy are used to relaxing starts to records; one must look at 2011's English Riviera and the sound of the shoreline and the string quartet in the opening number. The Hors d'oeuvre of this album is captured within the gentle lilting tones of I'm Aquarius and the tremendously catchy Monstrous.

Track 4 meanwhile, carries a change of gears. Slow tooting horns build up to a crescendo with the beginning of the title track. I cannot think of a more exciting song of this decade so far. From Oscar Cash's foot-stomping organ, to Gbenga Adelakan's bass riffs, to the harmonies surrounding Anna Prior's vocals, Love Letters is ten out of ten. Throw in the pause along with the saxophone solo at the end, and you have a very happy man writing this review.

For a little while, I didn't get past track 4. After I allowed myself not to hit the back button, I was "playing buzz a bell and run" in Month of Sundays, complete with a terse stomping bass riff. Go further, and you're meddling with Boy Racers and Call Me. Two tracks which veer out of control like an untrimmed haircut; synonymous with Metronomy records from the past.

Talking of Haircuts, well, I can't work out what is going on with the water splash and the fade in and out of track 8, The Most Immaculate Haircut. Maybe the splash is a segue into Reservoir? Possibly the most "pop" song on the album; Reservoir is a terrific upbeat ditty, almost "Popcorn" like in delivery. The tempo is enough to keep you on the dancefloor.

The final track is Never Wanted, again slowing the pace and with mysterious lyrical nods to toothpaste and moisturiser. Akin to the heartbreaking Some Written on English Riviera, this is masterpiece. A song in which Joseph Mount begins, and the band one by one join in. The bass notes here are sumptuous. With a dreamy effect to the sound and vocals; it leaves you completely content. This is my favourite record of 2014.

Vivien Glass. The Enterprise, Camden. Friday 10th October 2014.

In what can only be described as a creaky wooden-floored box bedroom above a pub, there's a new wall of sound about to hit you.

A three piece electronic band, by the name of Vivien Glass, take to the stage at the Enterprise, Camden Town.

Every face in the packed room turns to the three figures on stage; each figure with a piece of electronic equipment in front of them. From the first beat of the opening number Black Magic, the creaks of the floorboards are in tune with the rhythmic patterned sound. Vivien Glass appear effortlessly cool on stage, all stunningly dressed in black, with glitter seemingly everywhere. The influence of late seventies-early eighties synthesiser pop is evident both from the sound and the look.

This is only Vivien Glass's second set as a three piece band. They were formed in 2010 by Melissa Glass (lead vocalist and keyboards) and Jan-Michael Glass (guitarist and synthesisers). By adding extra ingredients in drummer and vocalist Glass Foxx to their line-up in recent months, the band now has some fire-power and drive to their live performance.

Songs like Something Running and Part Machine; both featuring those thundering synthesisers and electronic drums, showcase the powerful sound. Alongside Melissa's lead vocals, Jan-Michael and Foxx's harmonies work beautifully. This is a band that has clearly practised and honed their set. Everything from the new circuitry of lights to the banner stands featuring the band's logo has been considered.

There is a mixture of old and new songs in the set. A couple of tracks are taken from their 2013 debut record Awake, My Sleeper; including the finale The Changing, a fantastic foot-stomper featuring chiming synthesisers and alternating harmonies throughout.

Unfortunately, there was no time for an encore, however, there was plenty of time for warm applause from the watching crowd. This new wall of sound is well worth listening to. These guys are onto bigger and better things; the box bedroom is just the beginning.

Cathal Smyth- Wilton's Music Hall. Wednesday 8th October 2014

In an alleyway in East London, Wilton's Music Hall waves shyly. Blink and you'll walk past it. I don't think the venue itself realises how beautiful it is; currently, it resembles a building site on the exterior, but on the inside it is remarkable.

Chords and notes can reach the ceiling effortlessly. The vocals can stretch up to the balcony which wraps around the seating in the stalls below. Due to a slight tilt of the building, there is a good view of the stage from all angles.

This week, Cathal Smyth is in residency for three nights. The Madness frontman took a seat on-stage in an armchair. Did any member of Madness really sit down? Cathal has poured his heart into his new album "A Comfortable Man"; and -dressed in a dapper smart cream suit with no tie- along with the armchair, he really looked every inch the definition of that.

Backed by the Joe Duddell Ensemble, plus actor and Dexy's singer Madeleine Hyland; this was a show that brought tears to eyes across the auditorium. The orchestra providing the tender tones. There is no heavy heavy monster sound here; it is very deft, each note considered.

This is a touching hour long set, making you smile and reflect throughout. The songs are about love, and the loss of love. You love Cathal all the more for it. The armchair is a lovely touch. For one song it is just Smyth and a piano. Together with the orchestra, it is stunning. The delicate vocal melodies in the final song You're Not Alone, are worth the trip to East London alone. A nod must also go to the lighting director and set designer, providing the perfect ambience and display.

Escapism is rare in this modern world. As the clapping dissipated and I walked away from Wilton's, I realised I had found my escape; between the rumble of the Docklands Light Railway and the lapping tides of the Thames at Wapping.