[nggallery id=metronomy_2_5_14]
Last night, in support of their new album Love Letters, U.K. dance-rock fusion band Metronomy headlined a show at the Music Hall of Williamsburg. Opening up the night was solo artist-producer James Hinton, aka The Range, who teased a out a spunky, moderate-tempo set of progressive, glitchy drum and bass. Dim lighting had him spasming in the shadows to the tune of his own beats, filtered with a strange array of unintelligible vocal samples and cyberspace sequencers.
Metronomy entered the stage gallantly in matching, pristine American Bandstand-era garb. White plaster structures shield their electronic equipment from the audience, speaking to the band’s stark duality of sonic landscapes. Expanding their four-piece outfit with a fifth, fresh-faced member, Metronomy expands their already infectious electro-clash sound as something hyper-technical, uniform, almost alien in its precision for perfection. Metronomy showcased their multi-instrumental inclinations, incorporating each individual voice (literal and metaphorical) as a harmonic convergence of listless melody. Even faulty piano chords on crowd favorite The Bay garnered little admonition, as such mishaps translated as unintentional euphonic expression. The band played several songs from their forthcoming record like the minimalist, retro-tinged I’m Aquarius and the bombastic Love Letters. Band leader Joseph Mount solidified the group’s cogent musicality, despite leaving briefly to tend to a nosebleed and having his fly unzipped for a large duration of the show. We’re also assuming that was unintentional.