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Pagans in Vegas

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iTunes Review

These Canadians dress up their glitzy alt-rock with an extra coat of shimmery New Wave, tracks flashing like a relentless strobe light as Emily Haines purrs "I want it all." Synths sizzle and squeal through "Fortunes" and "The Shade," before rippling into smooth chillwave on "Celebrate." The velvety guitar floating under "For Kicks" hints at The Cure, while Depeche Mode's dark dynamism haunts "Too Bad, So Sad." It all ends in a luscious instrumental, with rich organ strains reaching synth-pop nirvana.

Customer Reviews

Perhaps-Premature-Worry...

Oh I love Metric. And one can’t really go in a review an album, 2 1/2 months prior to release and with only two singles out.. but.. Argh, I was so excited - have been a Metric fan for a decade. To me “Old World Underground..”, “Live it Out” and “Fantasies” are all epic masterpieces. I love that Metric dares to change their sound and evolve with every album. That said - “Synthetica” was a bit weak for me - it felt, well, synthetic - in Metric context. “Lost Kitten”, “Youth” and “Speed the Collapse” were all great but the rest became on flow of same-same to me, missing the drums, the awesome guitar hooks and relying too much on synth - Which brings me to the singles released from Pagans: they both sound *very* the same - and kind of like left-over b-sides from “Synthetica” - I hope this is not the case for the full album and look forward to - hopefully - updating my review.
Emily Haines does NOT need auto-tuning, man!

Give it a second chance

To some people that don't really like it, give it a chance. When I first listened to it I was like "ehhh what is this" but I was at a bar one night and they played cascade and I didn't recognize it right away and I really liked it. I think being a fan of METRIC and Emily Haines style how it changes made me look at the album differently. In conclusion...I really like the album so far and am excited for the release of the rest of the songs.

Great album but not Metric’s best

On its own, this is a great album. People tend to tout “Old world underground” and “Live it out” as Metric’s best work, for me nothing will ever beat “Grow up and blow away” but that Metric is gone. Even in comparison to “Old world underground” and “Live it out”, that Metric is simply miles away in sound and style.

I’ve always thought Metric and music in general was a channel for Emily Haines to vent her inner struggles and demons. her authentic and honest performances on “Grow up and blow away” and solo work on “Emily Haines and the soft skeleton” and “What is free to a good home” was not done by someone who was thinking to herself “ Time to write a song, let see what I can put together.” It was obvious the words and melodies were coming from somewhere deep within.

Now days however it seems she’s in a more peaceful and rather simple place. Her demons have tamed and her struggles have given way to a more relaxed and in tuned Emily. Don’t get me wrong, she is definitely talented and this is a great album, but in many ways, it feels like she’s now saying "Time to write a song, let see what I can put together."

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 for his...
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Pagans in Vegas, Metric
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