Theoretically, a band should pinnacle with its third record, perfecting the sound that was debuted on their first and reinforced by their second. The fourth record, then, would need to offer a significant change, or else things could get stuck in neutral. That pitfall isn’t the exact issue with Love Letters, Metronomy’s fourth record, but in a twisted way, it’s both better and worse. The ambient-pushing, underproduced, love-awkward texture of Love Letters actually works perfectly for artistic irony when applied to the concept of stationary love, although this awkwardness doesn’t always come across as a premeditated concept. And although frontman Joseph Mount pointed out his very intentional desire for an element of underproduction, how much more was there really to it other than to not “be like Coldplay”?