On their sixth album, Pagans in Vegas, Toronto indie rockers Metric get down with synthesizers to get back to the future.
It’s an interesting idea for the futuristic sounding band to follow but they’re a quartet of rebellious electro rockers who like to strut while they sing dystopian tales of disconnection.
The band, especially vocalist Emily Haines, seems to inspire hyperbole in reviews. She’s an intellectual pin-up girl for those who don’t find electronic sounds appealing.
With Pagans in Vegas, the group’s flair for the dramatic isn’t obvious. Haines’ delivery is cool and menacing and her vocal always finds a repetitive hook (The Shade).
The extra texture of synthesizers and beats adds a wash of dreamy backdrop on Celebrate as it pushes Haines’ melody up front.
The same production obscures her voice on Cascades and overwhelms Too Bad, So Sad, turning it into a contrived performance that seems pointless.
The recording loses the plot when James Shaw (guitar, keys, vocals) takes over on the microphone for Other Side. His pleasant-enough voice lacks the edge to contrast the synth wash the song runs on.
For Kicks dims the background to bring back the Metric of yore with enough detached yearning and grind to get over the earlier sidetracks. Likewise on songs like Blind Valentine – they tap into the pulse and mood of the ‘80s/’90s electro band era. When they keep it stark on tracks like Lie Lie Lie, the Metric of old appears in full force.
Pagans in Vegas has the feel of a concept album. Songs like The Shade chase a sound that the band already hinted at in earlier recordings. Either way, it’s a richly textured recording with less of the Metric edge than expected.
– Dean Gordon-Smith is a musician based in Vernon, B.C. He writes about the latest releases for The Morning Star every Friday.
