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Pagans in Vegas
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Pagans in Vegas Image
Metascore
65

Generally favorable reviews - based on 15 Critic Reviews What's this?

User Score
6.6

Generally favorable reviews- based on 16 Ratings

  • Summary: The sixth full-length studio release for the Canadian indie rock band is its first in three years with another album scheduled for 2016.
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Top Track

The Shade
I'm following the sun That's setting in the West We're floating on a bed of fading lights A canopy of trees Bears witness to the breeze I'm falling... See the rest of the song lyrics
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Critic Reviews

Score distribution:
  1. Positive: 5 out of 15
  2. Mixed: 10 out of 15
  3. Negative: 0 out of 15
  1. The A.V. Club
    Sep 18, 2015
    83
    Pagans In Vegas has a strong and consistent tone, more uplifting than most of the previous work, but retaining both the lyrical skepticism and dark musicality of so much of Metric’s catalog.
  2. Exclaim
    Sep 16, 2015
    80
    Patient listening toward the end of Pagans is absolutely rewarded.
  3. PopMatters
    Oct 5, 2015
    70
    Pagans in Vegas is still undeniably Metric. It might even be quintessentially Metric. It’s just not the top tier work that’s become expected of them in the latter part of their career.
  4. Uncut
    Sep 14, 2015
    60
    Pagans' first half dazzles.... The album closes with eight minutes of psedo-Vangelis twaddle. [Oct 2015, p.80]
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  5. Pitchfork
    Sep 15, 2015
    60
    In Pagans in Vegas, humans and machines exist in a binary relationship. The reality is both more nuanced and fertile than that.
  6. Q Magazine
    Sep 14, 2015
    60
    Shiny, but oddly inert. [Oct 2015, p.111]
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  7. No Ripcord
    Oct 5, 2015
    40
    There's a patchwork of pleasantness woven throughout.... By the time the closing tracks roll around, the album has fallen apart entirely. These instrumentals are complete afterthoughts and belong nowhere.

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User Reviews

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Score distribution:
  1. Positive: 2 out of 5
  2. Mixed: 3 out of 5
  3. Negative: 0 out of 5
  1. musicforall
    Sep 29, 2015
    8
    I liked this album and where they are going. I discovered Metric with Fantasies and have since bought most of their stuff. When I listen toI liked this album and where they are going. I discovered Metric with Fantasies and have since bought most of their stuff. When I listen to their first couple of albums and compare them to Synthetic or Pagans, I see a musical trend that I really like. I haven't found many bands that get better as they go along but Metric does that. Even the album cover is reminiscent of Synthetica. Keep it up, guys!… Expand
  2. crunchycelery
    Sep 19, 2015
    8
    Metric return almost 4 years after 2012’s glossy Synthetica with arguably an even glossier record (as perhaps the title may suggest) Pagans inMetric 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
  4. dgreek18
    Sep 19, 2015
    6
    I was really looking forward to Metric's new album and after about 30 listens I feel disappointed (that may be a little harsh) and apathetic.I was really looking forward to Metric's new album and after about 30 listens I feel disappointed (that may be a little harsh) and apathetic. I will not add any of these songs to my top 30 playlist and that's a shame. Some of the initial interest I had on some of the songs sort of slowly died, which is the opposite of what usually happens with Metrics other albums for me (especially Live It Out and OWUWAYN).… Expand
  5. EludiumQ36
    Sep 19, 2015
    6
    Sorry, this won't be a commercial success like Fantasies or Synthetica. They've experimented, tried some new things, but nothing really sticksSorry, this won't be a commercial success like Fantasies or Synthetica. They've experimented, tried some new things, but nothing really sticks or stands out. First track "Lie Lie Lie" turned me off with her annoying "hey hey hey". The following songs often have a likable chorus but the rest of the structure is disjointed. Only when I got to track 9's "Blind Valentine" did my ears perk up due to its start having a faint similarity to "Artificial Nocturne" from Synthetica, but it's listenable. Likewise "The Governess", and the final two tracks are synth-only plays with the first being upbeat and the second much more muted. Again, it's not a bad work of music art, just disappointing to me that not one song emerges as what could be a mainstream hit. I won't be adding any of its songs to my Crystal Metric (best of) playlist. However, except for track 1, they're listenable enough to play through headphones when I'm lunching or shopping.… Expand
  6. marcmyworks
    Jun 9, 2016
    5
    Again Metric creates another slick and synthetic release that just does not resonate with me. The production and attention to detail is onAgain Metric creates another slick and synthetic release that just does not resonate with me. The production and attention to detail is on point but there is a strong disconnect. The tracks mostly feel hollow and lack the punch of previous efforts. Download: Cascades, The Shade.… Expand

Awards & Rankings

83
#83 Most Shared Album of 2015

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