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.
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