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Synthetica

Metric

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Album Review

After the commercial breakthrough of their 2009 album Fantasies, it would seem kind of unfair to ask Metric to do anything differently on their next outing. That album perfectly took their usual tuneful blend of hooky new wave and spooky synth pop and blew it up to stadium-huge levels while adding more emotional content than ever before. It was a trick that seemed so improbable in the first place that it would be crazy for the group not to try re-creating it on Synthetica. So they did. The album has the same glossy textures, gigantic sounding arrangements, huge choruses, and open-hearted vocals as Fantasies did, but keeps the instantly memorable songs and exposed emotions intact. It also retains the same balance of super hooky songs and gloomy ballads, hitting you in the gut one minute and sending you off cheerfully singing along the next. (It's the same kind of trick Garbage were able to pull off in their prime, and Metric sound very much like a widescreen Garbage throughout Synthetica.) The success that band has achieved hasn't exactly healed Emily Haines' wounds, and her vocals have the same powerfully aching quality that has always been there — they cut through the music and right to the heart of the listener. Songs like "Artificial Nocturne" and "Dreams So Real" hit very, very hard thanks to her vocals. Elsewhere, she shows a ton of range on tracks as varied as the dramatic "Speed the Collapse," the creepily cute "Lost Kitten," and the dreamily desolate "Nothing But Time." The band provides capable backing throughout, framing her voice in a soft web of sound and creating modern pop that goes down easily but never bores. Only the unwelcome appearance of Lou Reed on "The Wanderlust" breaks the mood of the record and brings it down to earth a bit. Even with his warbling croak gumming things up, the song is a highlight on an album full of them. That Metric were able to follow up their best record with another just as good is quite an achievement, hopefully something they will do again and again.

Customer Reviews

ジャケがイカス

The Soundsに通ずる王道ポップス。
時に幻想的に、時に疾走感溢れる楽曲で迫ります。

ジャケは鏡文字で書いてあり、中に映すための銀のフィルムが入っている凝った仕様。
こういった遊び心やこだわりこそが、エンタメの真髄であります。

メロディーセンスいいネ!

全体的に聴くとアナログとデジタルのバランス加減、音の進行のメジャーとマイナーのシンクロの自然さ、美しい楽曲の構成がアンダーグラウンドな世界観を創造しているスタジオ・アルバム♪(^-^)
ただ、コンセプト・アルバムとしてリリースした方が完成度とバリューの高い作品に仕上がったと思います。「Metric」というバンドが成功するには、自分たちがどういうパフォーマンスをオーディエンスに対して行うべきかを常に意識することと同時に音楽Pにはどういう音楽をプロデュースするのかしっかりフォーカスして戦略的構想を練る能力が必要になる☆(“・_q”)
パフォーマンス×サウンドプロダクション=アーティスト評価
インディー・ロックにオリジナリティーを加えてアンダーグラウンド・シーンからオーバーグラウンドに押し上げて昇華できれば偉大なアーティストになれる😎

Biography

Formed: 1998 in Toronto, Ontario, Canada

Genre: Alternative

Years Active: '00s, '10s

Metric are a band with an eclectic, adventurous outlook, whose music encompasses elements of synth pop, new wave, dance-rock, and electronica and whose hometown has vacillated between Toronto, Montreal, New York, Los Angeles, and London over the course of the group's existence. Metric's story began in 1998, when vocalist/keyboardist Emily Haines met guitarist James Shaw in Toronto, Canada. Although born in New Delhi, Haines — the daughter of Paul Haines, a Canadian-American poet best known...
Full Bio
Synthetica, Metric
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