Artwork and eclecticism: Metronomy frontman Joseph Mount names his favourite records
Metronomy are a band who are almost impossible to categorise. They pull together influences from across electronic and indie spheres, pairing frontman Joseph Mount’s simultaneously talky and tender vocals with synths, strange percussion, and all-enveloping indietronica. Along the way, the band have secured a unique place for themselves in modern music, attracting widespread acclaim and respect across all genres.
Outside of their own work, they’ve linked up with everyone from indie icons MGMT to modern post-punk outfit Idles to pop star Lady Gaga, expanding their remixing endeavours even further beyond the limits of Metronomy. The group’s catalogue spans countless genres and styles, so it makes sense that the band members’ own listening habits are just as eclectic, an assumption Mount proved to be true while sharing a list of formative albums.
Perhaps Mount’s wide-ranging taste stems from the way he selects albums. Rather than selecting records based on recommendations or genres, the Metronomy frontman seems to be driven by visuals. “I wouldn’t have discovered the bands that I’ve discovered if it weren’t for vinyl and being able to be intrigued by artwork,” he explained during an interview with The Vinyl Factory.
One album that intrigued him when he was younger was Road to Ruin by punk pioneers the Ramones, which his parents picked up at a car boot sale. Mount admired the album artwork and acknowledged that the music would “calm [him] down” during asthma attacks. It’s a slightly strange album to pick for calming purposes, full of punk spirit and raucous riffs, but if it works, it works.
Mount also shared his love for Björk’s iconic third record, Homogenic, again sharing his love for the artwork. It’s easy to see why — designed by Alexander McQueen, the cover depicts the Icelandic singer in near-perfect symmetry, donning a red and silver kimono and a wide necklace. It fits the album perfectly, as well as Björk’s wider artistry.
Mount also shared his love for Hello Nasty by the Beastie Boys, What’s Going On by Marvin Gaye, and Speakerboxx/The Love Below by Outkast, acknowledging that he “almost wore out” his copy of the latter. Each pick further demonstrates the breadth of Mount’s taste, ranging from experimental electronica to legendary soul to punk rock.
It’s easy to see how Mount’s work with Metronomy morphed into something so indescribable, shrugging off genre and pulling elements from throughout music history. It also makes sense that Mount is so interested in accompanying album artwork, an element of Metronomy’s artistry that seems just as closely considered as their sound.
Take The English Riviera, for example, Metronomy’s beloved 2011 album full of quaint, quirky, indietronica tracks like ‘The Look’ and ‘Everything Goes My Way’. The record was accompanied with a simple image of a palm tree, minimalistic and calming, which perfectly accompanied the music. Meanwhile, Metronomy Forever, which pushed the band into groovier, funkier territory, was accompanied by a brighter image of mountains and planets.
Mount’s love for all genres of music, and for the visual art chosen to accompany them, has spilled into his own work at every opportunity. Metronomy pulls elements from across his music taste, from indie forefathers and electronic pioneers, to create a sunny and synthy sound for modern audiences. His focus on artwork only adds to their unique place in modern music, making them stand out amidst the indie scene.
