It's eight weeks before Metronomy release their fourth album, 'Love Letters', and the band's mastermind Joseph Mount is sat at the offices of his record label, Because Music. Hanging on the wall behind him are the label's gold and silver discs, all framed and neatly arranged.
"They’re very proud of their silver discs," Mount says, waving his hand dismissively at the display, "But there are no platinum discs. There’s a gold one..." He points to the lone gold record on the wall, Justice's '[cross]'. Above it is his own, silver-embossed third album, 'The English Riviera'. "It’s gone gold!" Mount cries, "I don’t know why they haven't changed it. They need to respray it!"
The fact that Metronomy have become the sort of group that make gold records is a remarkable achievement, considering they started out as an experimental electronic side project in the bedroom of an Autechre nerd from Devon. But anybody expecting Mount and co to follow up the Mercury-nominated success of 'The English Riviera' with an album of even more pop hooks and even more polish will have to look elsewhere.