I find myself often daydreaming when listening to this album. It brings back so many memories of 90’s music. The grunge fury of the early 90’s, the alternative craze, and bands fronted by girls. But unlike nostalgia bands like The Darkness, Metric are actually good.
Not necessarily a nostalgia band nor a cheap way to visit the past, Metric exists in the same vein as
Garbage. Both are fronted by woman and both can be loud and quiet. But the Emily Haines is sexy unlike that rough woman who looks like garbage (pun intended). Just like the lead singer, this music is fine. The album ranges from the fast and rocking tunes (
Monster Hospital), the sexy and mysterious (
Empty), and the chill (
Ending Start). And even with this much diversity the songs don’t suck like they should.
Why this band isn’t topping our pop-rock charts at the moment? I have no idea. They are in every way appealing to the public. They successfully mix synth pop with rock and keep the mainstream appeal too. If the public can like Sheryl Crow than they can love Emily Haines. Her voice can be dark and mysterious while maintaining that fun and sexy edge required for pop. Not only is her voice marvelous as it is, it perfectly mixes with the music. Her brooding vocals compliment the moody guitar in Empty so well its like milk and cookies. It was meant to be.
The instruments exceed the already low pop expectations by a long distance. The guitar riffs are raw and fuzzy and play some of catchiest riffs I’ve heard this year. Every now and then you’re treated to a little taste of electric inspired rock when the guitarist decides to spice things up with a completely un-coordinated solo. The guitars also take on an undeniable metal influence. The wide of use of pinch harmonics in metal can be heard often and the guitars can chug too. Synths are commonly used too and have a New Age taste to them. The Police And The Private is very laidback and New Age influenced. Handshakes and Poster Girl also have electronic samples and synths scattered throughout. To sum it up, the instruments do their job very well.
It still astounds me how they are not popular and write good political lyrics. If half of the world believes Billy Joe Armstrong’s incorrect politics are amazing than they should embrace for Metric’s smart anti-war anthems. The often can be subtle depictions of war-life
Here no one sleeps; one lays up while the other lies down
Too the easier to picture terrors of war
But I don't want to live it alone
Look at you, I know I'm already dead
Now I'm never gonna see you again
Too the flat out obvious
I fought the war but the war won't stop for the love of god.
I fought the war but the war won
This album is making just as big an anti-war statement as its predecessor.
Even though this album is exceptionally great it’s not flawless. Even though the song variety is considerable and all the songs are good, it can get a little tiresome. This album doesn’t stay too fresh throughout your listen, much less one week if straight listening. Even though the songs may use different instrument approaches and tempos they all feel connected and all faintly similar even for an album of only ten songs. The album as a whole drags on some times and one song may seem like a continuation on the other, but if this album is viewed as collection of songs only one is tiresome. Ending Start isn’t bad, but it doesn’t exactly keep your interest throughout the whole thing.
An album like this in the rock-pop world may seem unlikely, and destined to fail, but Metric hold the intelligent pop-rock flag high. They can simultaneously sing good political lyrics and perform catchy songs all while giving you a metric by looking at the lead singer. This band is definitely what the mainstream world needs in this originality starved MTV nation. But sadly Metric will most likely be passed and unrecognized by the modern radio and left for music lovers who are willing to go under the surface to experience something great.
Recommended Songs:
Empty
Handshakes
Monster Hospital
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