I'm not saying it represented a masterpiece or the next big thing or any sort of magazine-crap-like-that. - Simply, its result was a perfect album to be proud of, easy to enjoy, to dance with and.. yes, so groovy to listen.. i mean, who can resist to Combat Baby?
Now, new release Live it Out signs a further step ahead, abandoning the soft conceptual line of the previous ten tracks, where quick and slow rythms matched fine under the same volume; this new record runs faster through a guitar-driven rock path, maybe as closest as possible to Metric's live performances: rawer and louder, less synth serpentines, here replaced with rousing edges (Handshake, Monster Hospital, Empty, the album's title track) and a river of sincere power-pop vibrations: it's just Emily Haines' voice to represent the unique pop-ish brake before certain tunes don't turn totally into a wild indie fierce.
Her vocals, sexy and energetic, swing from breathy to stronger tones, brilliant on lyrics like I fought the war but the war won, and buy this car to drive to work / drive to work to pay this car, - focusing the physical prospective of Metric melodies and rendering everything fully enjoyable.
Poster of a Girl, Patriarch On A Vespa (with James Shaw's noisy guitar solo), are probably the two faces of this record: a disillused portrait of fustigated dreamers, trying to find a way out from the naked reality.
¬mp3 (via LastGang rec, more at ilovemetric):
.o5 Poster of a Girl
.o6 Monster Hospital (here, for movie)
¬click here for some cool pics taken from live show at Dinwoodie Lounge, Edmonton, AB (USA), 11sept'05.
not yet, probably nobody cares, or nobody cared enough to tell something. Also: nobody reads komakino.
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