Emily Haines and crew offer a more serene, synth-drenched sound on their fifth studio album. The Toronto quartet largely buck the instant gratification of in-your-face rockers like "Help I'm Alive" in favor of the softer edges of oozing synth illuminating Haines' lush, wispy vocals, as with the opening slow-burn cool of "Artificial Nocturne" and blipping thump of gradually building closer "Nothing But Time". Even the guitars toiling through the beat fueled title-track feel muffled by the drizzled synth melody. The hazy, dream-like slant of the songs do not sap the energy from the tracks so much as it takes would-be rock tunes and frames them as new-wave gems. That is not to say there is a lack of guitars on the album, as displayed the buzzing bop of "Youth Without Youth", riding a borrowed bass and synth groove from Depeche Mode's "Personal Jesus". The odd coupling of Lou Reed's deep tones and Haine's sunny coos work well together in the flickering guitars and drippy bass line of "The Wanderlust". More often, the squealing guitars are simply an airy accoutrement to Haines' velvety vocals, as on the great beat and piano blend of "Speed The Collapse". Metric's lighter offerings here are a bit hit or miss, with the bopping synth-ballad "Clone" working great with Haines' cuddly vocals, but their bouncy bass line fueled "Lost Kitten" falls flat with an overly saccharine vocal. Rounded edges and all, Metric remain an infinitely listenable band on their latest.
Seek - "Youth Without Youth", "The Void", "Speed The Collapse"
For fans of - Garbage
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