It was called Pip Paine (Pay The £5000 You Owe), and its obtuse but fascinating, largely instrumental electro-pop reflected the eccentricity of its title, and the enduring influence of Totnes. Joseph admits that he only, finally, saw the commercial possibilities of Metronomy when DJ, producer, Trash founder and electro-punk avatar Erol Alkan began to feature the single You Could Easily Have Me in his sets, and asked Metronomy to play at his club. Cue the need for a proper live show, and the additions of Gabriel Stebbing, Oscar Cash, dance routines and clothes that blink. Move on 2 years and Nights Out a wonky love-child of Giorgio Moroder, New Order, Pet Shop Boys and Unfinished Sympathy is a second album that feels like a debut. The first to be vocal-led, with the self-effacing Joseph stepping up and grabbing the mic for most of the tracks; and, crucially, the first to introduce Metronomy as a fully live propsition, rather than a pseudonym for Joseph‘s solo work.
As Metronomy’s busy touring schedule built a buzz amongst kids who instinctively get the dance/art crossover, In April 2009 the Metronomy show took another leap in its evolution, with the addition for the first time of a live drummer in Anna Prior, and bassist Gbenga Adelekan. The new Metronomy was completely live, proving it is possible for electronic bands to put on show as authentic as any rock band. Meanwhile Joseph has embarked on a series of prestigious remixes for the likes of Klaxons, Franz Ferdinand, Gorillaz and collaborations with Kate Nash and Florence and The Machine. Metronomy produced part of the highly acclaimed Roots Manuva album Slime and Reason.
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