Metric - Live It Out (Dig)
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Music CD Cover
Artist: MetricBrand: METRIC
Edition: Music CD
CD Release Date: 2007-01-08
Music Label: Last Gang Records
Soundtracks:
- Empty
- Glass Ceiling
- Hand$hake$
- Too Little Too Late
- Poster of a Girl
- Monster Hospital
- Patriarch on a Vespa
- The Police and the Private
- Ending Start
- Live It Out
Free Music Notes for Live It Out (Dig)
Free Music Review: 4.5; They just keep getting better...
Hit: 5 Stars
It's always nice when you latch onto a band like Metric or Stars. They make memorable, hard rocking music without feeling a sense of generic-isms; a band that just sounds way too polished for its own good that radio will adore but it leaves your brain just as quickly. With their 3rd release (1st album was re-released recently...too many re's there), the band just keeps getting better and able to blend their new-age influences and rocking rhythms rather than one overpowering the other.
Empty: Starts out nice and slow before heavy guitars kick in and it just becomes a very groove-based track that's great to headbang too (it's fun to do vocalist Emily Haines' head movements which go sideways rather than vertically). 9.5/10
Glass Ceiling: One of the more enjoyable tracks on the album with a catchy main riff and the chorus being a nice quick sing-along. It just sounds like a fun track to listen to and tap your foot to. Only problem is it's slightly repetitive. 8/10
Handshakes: Even though there's a lot of elements to like about this one such as the fast-paced main riff, it doesn't really take off. Not that it's a bad track and you probably wouldn't skip over it but aside from a few things, it's hard to keep it in your head. 7/10
Too Little Too Late: After a long guitar riff, we get into a mid-tempo number with Emily's sexy vocals harmonizing with each other before it goes into a beautiful chorus which is mainly thanks to the guitar line underneath. Not really a pop hit but it's just a very enjoyable track to listen to. 8.5/10
Poster of a Girl: Some songs are just way too catchy for their own good. Everything from its ungodly catchy synth line to the guitar line played before it to Emily's sexy-as-hell repeating of the song's lyrics in French, it's an obvious highlight. 9.5/10
Monster Hospital: Very indie rock and loud and full of energy with a Clash-inspired chorus yet...I don't like it that much. Strange huh? It doesn't do anything wrong really and many love it and it was obviously a single but it's one of those songs where you're the odd man out. 7/10
Patriarch on a Vespa: Great beat although like Handshakes, it might be one of those tracks you like but probably won't go back to much. It's got its heavy guitars, Emily's vocals and good rhythm bass/drums-wise. Chorus and its noise solo saves it. Come to think of it: I like the song. 7.5/10
The Police and the Private: More catchy synth arpeggios and great interplay between it and the guitar. It's a great example of them building a kind of atmosphere without going completely nutso a la Empty or Monster Hospital. Album standout. 9/10
Ending Start: Kind of a weird song. Piano-based at its start with Emily harmonizing with a weird male voice with swirls going around all over the place. It's a nice sounding if off-kilter track but it's kind of missing a memorable hook to rope you in. 7/10
Live it Out: I love Emily's vocals at the start and when you think it'll be another ambience piece, it kicks up and rocks hard. Might not be a catchy sing along song but its rhythmic beat sets it apart and maybe not an ideal closer, it's certainly a good rocker. 8/10
It's too bad female fronted bands tend to be known more for its vocalist than anything. Everyone knows Emily just as everyone knows Amy Millan from Stars or Hayley Williams for Paramore but the band here does a great job at being a band and luckily, they come up with great records like this one.
Live It Out (Dig) Poster
No Description AvailableNo Track Information Available
Media Type: CD
Artist: METRIC
Title: LIVE IT OUT
Street Release Date: 10/04/2005
Genre: ROCK/POP
Toronto's Metric has the ability to appeal to fans on a number of levels: the group captures the likeability of Elastica with the cheekiness of Blondie and then mixes that new wave style with just enough of a growling guitar to give it some oomph. Since their last release, the acclaimed Old World Underground, Where Are You Now?, Metric's sound has morphed slightly; this follow-up is a little more guitar-based and slightly less electronic than their last, a move likely to broaden their fan base even further.
Metric's rock-meets-new-wave is not only timely, it is joyful to boot. The driving track "Handshakes" could easily qualify for the next ipod commercial, while "Monster Hospital"'s retro punk style has a Clash-inspired chorus that will stay in your head for days. By the same token, the band's musical diversity is especially evident in the beautiful "The Police and the Private," where one could easily imagine that they are listening to an up-tempo Sarah Harmer track. Metric's cross-genre appeal is at least party due to frontwoman Emily Haines' delivery. A smart writer and performer, Haines' contributions to the Broken Social Scene collective have already made her voice somewhat familiar, and in her own element she shines especially bright. From her delicate whispers (the Pink Floyd-esque "Ending Start") to her Eurotrash-inspired yelps ("Live It Out") Haines has the "it" factor that makes indie rock critics swoon, and keeps fans dedicated. --Denise Sheppard
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