Metric return almost 4 years after 2012’s glossy Synthetica with arguably an even glossier record (as perhaps the title may suggest) Pagans in Vegas. And a majority of that gloss is the product of the band’s embrace and use of multiple fairly textured synthesizers. And for a band often categorized (especially in their early years) as "Indie Rock”, one might question this gradualMetric return almost 4 years after 2012’s glossy Synthetica with arguably an even glossier record (as perhaps the title may suggest) Pagans in Vegas. And a majority of that gloss is the product of the band’s embrace and use of multiple fairly textured synthesizers. And for a band often categorized (especially in their early years) as "Indie Rock”, one might question this gradual progression to a more synthetic sound. But one can easily point to the fact that one of Metric’s main draws is in fact Emily Haines singing/lyrics and synth playing. In fact, some of Metric’s best songs are mostly synth driven (Poster of A Girl, Hustle Rose, Twilight Galaxy). So while some may be turned off by the abandonment of the punk rock tinge of Old World Underground, and Live it Out, in favour of an increasingly more synthetic sound, the band seems fairly comfortable making more polished, electronically coloured, pop rock ready for the masses.
Our first taste, and lead single, “The Shade” is indicative of this (A slightly disappointing first taste but 2nd release “Cascades” brought me back on board). The anthemic chorus consisting of a repeating mantra “I Want It All”, complete with a vibrating retro synth line and glitchy blips, slightly rehashes their previous uplifting alt-rock anthems (Fantasies’ “Gimme Sympathy” and Synthetica’s “Breathing Underwater”). While perhaps most successful on “Gimme Sympathy", this formula seems to stick commercially seeing as “Breathing…” and “The Shade” have both done well on the Radio.
One thing fairly notable about Pagans… is the similar sonic palette used throughout: a pastiche of glittery and sometimes glitchy 80s synth rock (which sometimes sounds almost 8-bit/videogame-y) with the occasional burst of jagged guitars. While not as overarchingly conceptual and thematic as Synthetica, Pagans… does have a common motif of Emily commanding the listener overtop teetering guitars and synth laser beams. Whether this be a command to “celebrate”, to “want it all”, to “keep going strong” and “don’t be afraid”, or to “take me out of the state I’m in . . . where’s that paradise?” before expelling our trivial problems in “Too Bad, So Sad” with a triumphant “WOOHOO!”.
While the band does break into a fair bit of new territory with just the sheer amount of synth use in favour of traditional guitar tones, bass, and even drums, they still often look back. The remarkable, bubbling, electronic synth ride “Cascades” takes cues from 80s influences like Depeche Mode, Emily’s voice vocoded and processed over glitching and shimmery bleeps and bloops before progressing into a slightly harder/grittier bridge, harkening back to Old World’s… “Hustle Rose”. Album opener “Lie Lie Lie” winks at Live It Out with Emily’s sinister snark as she shouts “Hey!” overtop teetering guitar and throbbing synths.
They break completely new ground a couple times. The first notable instance is the straight up dance pop “Celebrate”, in which cascading synth cords gauzily sway underneath synth beams and overtop pounding drums, building into a thick retro 80’s breakdown. Emily’s vocals command and echo to get us to appreciate the present moment. While a slightly un expected turn, they successfully manage to pull it off.
Another more obvious first is lead vocal by Metric’s guitarist and frequent producer Jimmy Shaw on “The Other Side”. As well as the album closing two-part instrumental “The Face”. The first of which being reminiscent of early video game soundtrack before dissipating into an atmospheric dial tone, ringing overtop a classical music theme meets Nokia ringtone. An answering machine picks up and we’re dispelled into an atmospheric and ephemeral synthscape of waves building and falling.
Other notable tracks include the catchy and brooding “For Kicks” which would feel at home on an 80s film soundtrack, with it’s shimmery synth lead, wandering guitar, and sweet coos of “Why’d I have to go and break your heart for kicks?”. As well as the previously mentioned “Too Bad, So Sad”, in which video game synths tip toe back and forth in an arcade like bridge before erupting in dark guitar bursts. “WHOO HOO!”
The only real dud here is “Black Valentine” which employs a similar campfire circle vibe with synth undercurrent/pulse as in “The Governess” but without really pulling together a decent or memorable tune.
Ultimately Pagans In Vegas isn’t Metric’s best record. It’s also possible that it isn’t better than Synthetica. Or that it isn’t as consistent as past Metric records. It is however pretty cohesive, and sees the band building on previously marked territory with some newer motifs. And with this bunch come some good work, “ Cascades” now being one of my favourite Metric songs. Here’s to seeing what the supposed upcoming companion piece will bring. Whether that be a compliment to the glitchy, retro leaning, synth rock of Pagans… or a counterpoint so completely contrasting that it’ll spin this record on it’s head.… Expand
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