There’s a lot to be said for female-fronted bands these days. Most of them attempt to emulate Hayley Williams and her success with Paramore, utilizing the basic pop/rock sound and adding a subtle twist. Canadian new-wave rock band Metric has never found themselves in this state of mind; they’ve always been bold and experimental in a very controlled and clever way. It’s technically been close to four years since Metric has put out anything new (2007’s Grow Up and Blow Away was a re-issue), but the time is close at hand. Fantasies, Metric’s fourth studio album, is due out on April 7, 2009. Thanks to an early leak, the entire album was put up for streaming on their Myspace, and I highly recommend that you take a listen.

Fantasies begins with the gripping first single, “Help I’m Alive,” which features spine-chilling melody lines coated with striking lyrics like “Can you hear my heart beating like a hammer? / Help! I’m alive! / My heart keeps beating like a hammer.” It’s brilliant, engaging, mysterious, and catchy; all at once. The production is especially appreciable; everything from the vocals to the guitars to the percussion. If you need some kind of sample, go ahead and get this song. It’s the key to unlocking the genius in the rest of the album.

Other album highlights include the spacey groove, “Satellite Mind,” the intriguing “Twilight Galaxy,” and the synth-driven “Gold Guns Girls.” “Satellite Mind” is my favorite of the trio, employing heavy tones and decisively choppy melody segments. “Twilight Galaxy” revolves around subtle vocal dynamics, while “Gold Guns Girls” explores urgent declaration and synthy callousness. Second track “Sick Muse” also is a stand-out, featuring earnest lyricism on a dark sound palette. Lines like “All the blonds are fantasies” and “Watch out, Cupid stuck me with a sickness / Pull your little arrows out and let me live my life” are just a few of the piercing phrases lead vocalist Emily Haines passionately expresses here. Plus, the melodies are all grade A here, and that doesn’t hurt in the least.

Mid-album track “Gimme Sympathy” feels like a confession in musical transit, setting diary-like monologue to persistent percussion. “After all of this is gone / Who would you rather be / The Beatles or the Rolling Stones?” asks Haines bravely. It’s definitely a little poppy, but not generically or negatively. It’s just cautiously upbeat, if you will.

The remaining tracks are also intelligently composed, melodically satisfying, and engagingly fresh. Everything from the entracing “Collect Call” to the solemn “Blindness” constructs a fantasic completeness that involves and re-involves the album as a whole. The production is also note-worthy; synths are well-supported, the percussion is full of rich textures, and the vocals are sharp and smooth.

Fantasies is ultimately a victory for Metric. The songs themselves, the track-to-track consistancy, and the endless innovation all play a lead role in making the album a success. It’s noticeably darker than past Metric records, but this is easily a sign of maturity in this instance. Hands down, one of the best of 2009 so far.

/ Posted: Apr 02, 2009
/ Written by: Matt S.
/ Category: Album Reviews
/ Artist(s): Metric