ALBUM REVIEWS: Metronomy Go The Safe Route While White Lies Make A Stellar Return This Week

The indie world was gifted with a few records this week from some notable veterans – including White Lies, Metronomy, and Beach House. I share my opinions on the two former albums, and include a noteworthy introduction to a stellar Canadian talent.

Watch the video below, and read the transcript just past:

Metronomy – Small World

Metronomy have come a long way since their 2006 debut Pip Paine (Pay the £5000 You Owe). In fact, they would be completely unrecognisable to anyone who skipped the last 15 years of their discography. Their seventh album Small World touches on their electronic beginnings with a gentle hand, as they shift into more lo-fi indie rock.

Compared to the rest of their discography, Small World quickly establishes itself as more of a placeholder, serving more as a collection of minimalistic, feel-good tracks that loyal fans might find refreshing as frontman Joseph Mount strips back his songwriting.

If you’re looking for something a bit more upbeat and captivating from Metronomy, it might be more productive to explore their previous records, or stick to the singles. Otherwise, if you’re looking to escape and sit back with something easy and breezy, then Small World has a few charming moments to offer.

I’ll be giving this one a 6 out of 10.

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White Lies – As I Try Not To Fall Apart

Having held their own as a monumental name in UK indie rock over the last decade or so, White Lies are back with their sixth album As I Try Not To Fall Apart. Admittedly, I didn’t spend very much time with their previous discography – other than their 2009 and 2010 releases, the rest didn’t quite align with my tastes over the years.

Nevertheless, their new album feels approachable, cohesive, and more often than not, groovy. The guitars, keys, and bass lines carry the weight of the record, while the iconic vocals of frontman Harry McVeigh tower above with his rich, brooding baritone.

I think one of the more dominating features of As I Try is the band’s ability to hide heavy topics within melodic hooks and larger-than-life production. This entire album deals with mortality on a very overt scale, but on the surface, it seems almost impossible. Why would anyone want to think about death when you’re too busy dancing?

Fortunately, the darker themes are given a playground to move about as White Lies dip into more prog-inspired tracks – on top of their already UK new wave-heavy style. Guitars and anthemic builds help push the concept of life and death into something more grandiose and cinematic.

Overall, I felt that White Lies have put out some of their best work to date, and have found a really solid balance between ambition, realism, and melodic appeal.

I’m going to give this a solid 8 out of 10.

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Katie Tupper – Towards The End

Normally I don’t include EPs in these review round-ups. Not that I have anything against them; I just feel that they’re often more of a stepping stone or placeholder that leads to something bigger and more attention worthy down the road. But I wanted to make an exception this week.

If you’re a fan of Charlotte Cardin or Yebba, there is absolutely no excuse for you not to be basking in the glow that is Katie Tupper. The Saskatoon-born neo-soul artist has put out her debut EP Towards The End, and the five-track project just does not miss. Across the record, she possesses a glowing elegance with both her voice and lyrics, as she moves through topics of romance and relationships with an alluring intimacy.

If her stunning vocals aren’t enough, then maybe you’ll find a refreshing warmth to her vulnerable love songs.
This is an EP so I won’t be giving it a score since it’s not a full-length project, but either way I thought you all should know about Katie Tupper and her new collection Towards The End.

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