Polaris Music Prize: And the winner is...

With a profound amount of self-reflection and musical analysis over the past few months, I have diligently observed every facet of the Polaris Music Prize's 10 nominees in 2009. I have heard everything from thrashing hardcore punk to marvelous hip hop to glamorous indie rock n' roll. But what this prize boils down to is talent: an unbiased approach in discovering the most talented act in Canada this fiscal year. With careful thought and undying appreciation, I humbly thank every artist in Canada this year for continuing to make this country musically relevant and for making 2009 a year in which, much like the years previous, beautiful sounds were made.

For the 2009 Polaris Music Prize, my vote of confidence goes to...






Patrick Watson, Wooden Arms













Overall: 8.6/10
Sound: 10
Quality: 9
Lyrics: 8
Impression: 8
Production: 9
Tilt: 7.5

More than any artist in recent memory, Patrick Watson and his eponymous band have established themselves as one of the most brilliant acts, not only in the country, but far abroad as well. This status is well affirmed in their latest effort, Wooden Arms: a work for which I cannot say nearly enough. Musically and lyrically, you'll be hard strapped to find something more creative this year.

Watson continues to delve deeper and deeper into a genre known as Dream Pop: a variety of music comprising both creative instrumentation and a surreal, ethereal atmosphere. Bands like Sigur Ros, Broken Social Scene, Mew and many others have all contributed to this growing scene. The result is an elaborate juxtaposition of deeply orchestrated music layered over lyrically relevant and intimate folk. While for some this combination could spell a recipe for disaster, for Watson, this musical symbiosis adds a great deal of profundity to his sublime repertoire.

On first listen, the tones of this album indicate a connotation of sadness. On songs like Traveling Salesman for example, the use of strings and muted trombone summons visions of a world struggling to make ends meet. However, when we witness the astounding vocal harmonies and dulcet tones of the banjo on tracks like Big Bird in a Small Cage, we realize that Watson can still enlighten us with a quaint story and a deeply rooted folk spirit. Additionally, Watson's creative spirit never fails to shine through. On the magical Beijing, the piano/string combination emits an eerie, Tim Burton-esque symphony in which Watson plays the bicycle to further establish the mood.

Functionally, however, this album will leave some with something to be desired. As astounding as Watson's style and music prowess is, the listener doesn't experience as much growth as was experienced with Close to Paradise. The heavy hits on this album capture incomparable feelings in the listener, yet songs like the title track and Man Like You feel somewhat tacked on and uneventful when compared to the stellar outbursts of Where The Wild Things Are and Fireweed. Development in Watson's ability to create a stellar work from start to finish are still in question, but the bumps on this road are minimal compared to the smooth, scenic stretches.

There was a time where Patrick Watson's music was an amorphous blob. We were able to see the general idea of what was going to come out, but realistically, there was no definitive shape. This raw talent made him and his band incredibly interesting to listen to: you never knew what to expect from them from track to track. However, with Wooden Arms, Watson has defined the corners of his musical blob. We are starting to see solid shapes and beautiful constructs within its walls. We don't have to look quite so hard to see what is truly beautiful about what we are experiencing. The biggest thing about Wooden Arms is that upon listening, you know it's beautiful. You feel how captivating this work is with every note and every word. For that, I feel another Polaris will be in the works for Mr. Watson and company.

Polaris Music Prize: Inexplicable Snubs + My Top 5

As with any award ceremony, the nominees are always extremely debatable. While art for art's sake is always appreciated, the Polaris Music Prize did exhibit a few undesirable snubs. An unfathomable amount of music is surfacing from Canada and to include it all would be a daunting undertaking, but certain bands included in the short list didn't even remotely contain my seal of approval.

With this continuation of my series on the Polaris Music Prize (up to the actual event taking place on September 21st, 2009), I will elaborate on just a few of the unforgivable snubs from this year's short list:










Japandroids - Post-Nothing
Canada's equivalent to Dinosaur Jr. Musically, this band is a powerhouse. Brian King and David Prowse comprise the entire ensemble and rip unfathomably powerful guitar and incredibly up-tempo drums into the skulls of all willing to listen. Their lyrical content is a little suspect, but as is any band still in university. Their sound is raw, thought-provoking and genuinely wonderful. Expect brilliant things for years to come.










Land of Talk - Some are Lakes
Canada's equivalent to Rilo Kiley. Principal singer Elizabeth Powell's voice is as tortured as it is captivating; think the alt-rock equivalent of Neko Case. Throwing out all these comparisons, Land of Talk still produce fresh, intriguing material with unbelievable lyrics. Every element seems emotionally broken, but you never turn away for a second. It's been a long time coming for this band, but that being said, expect far more to come.










The Dears - Missiles
Canada's equivalent to...nothing we've ever heard before, really. Already nominated previously for their third album, the also fantastic Gang of Losers, The Dears saw a phase shift on this work. By completion, most of the band had left due to creative differences That being said, they still deliver a brilliant effort, comprised of stellar lyricism and a grand diversity of sounds. The always intriguing Dears deliver once more.

~~~

As this years nominees go, Canadian music is very well represented by each artist deservedly nominated. My hat is off to every musician who worked their hardest to achieve greatness in Canada's music scene, which is becoming increasingly tougher to break into these days. That being said, here are my top 5 selections from this year's prize, in no particular order:












1) Fucked Up, The Chemistry of Common Life:
Rarely has beauty in hardcore music struck me like in The Chemistry of Common Life. With moments of intense, almost frightening thrash in combination with moments of incredible beauty and clarity, there is something unfathomably captivating about this work. If you don't mind the edges, this is a masterful work.












2) Hey Rosetta!, Into Your Lungs (and around in your heart and through your blood):
I strongly believe it's time for Hey Rosetta! to make that final leap into the hearts and minds of Canadians everywhere. This band is more than just an indie from Newfoundland at this stage of development: they are creating full-fledged music with enormous results. Beautiful album all around.











3) Patrick Watson, Wooden Arms:
Wooden Arms is nothing short of sublime. Patrick Watson has built his career on incredible musicianship and every facet of his already brilliant career shines even brighter on this work. Tracks flow perfectly, sounds escape from all angles of your mind and when it finally ends, you have to start it all over again. Well done.












4) K'naan, Troubadour:
Troubadour is Canadian hip-hop's best work this year, bar none. A combination of relevant lyricism and infectious beats make this album soar far higher than its predecessors. K'naan takes risks, has talent, grit, passion and, best of all, staying power on all facets of his craft. This listen is impossible to disappoint.












5) Chad VanGaalen, Soft Airplanes:
My dark horse pick in this year's competition. While I praised several of the other albums higher than Vangaalen's work on my list, it is difficult to find a Canadian music journal in this country that didn't place Soft Airplanes amongs its top 10 this year and for VERY good reason. That being said, everything about this album sounds personal and brilliant. Fantastic effort.

Mosshart, White a Match Made in Heaven

The Dead Weather - Horehound

Overall: 8.1/10
Sound: 8
Quality: 9
Lyrics: 8
Impression: 7
Production: 9
Tilt: 7.5

When discussing a bluesy brand of post-punk revival, the conversation usually doesn't swerve very far from The White Stripes and The Kills. The former, fronted by Jack White, has taken Motor City blues to a big stage with grandiose guitar and intriguing lyricism instantly finding a place in the hearts of music authorities. The latter, fronted by Alison Mosshart, have burst onto the scene as a "Stripes competitor", choosing a synthesis of garage, punk and blues that has left critics speechless. While both bands play to their respective audiences, the comparisons drawn have been many.

Going back a few years, Jack White's most prolific side project, The Raconteurs, were on tour and, fittingly enough, The Kills were given the opening slot for several legs of the tour. As legend has it, one night when Jack's vocals weren't quite up to snuff, he invited Alison up on stage to perform some of the set with him. Not knowing quite what to expect, the performance was lauded for the instant chemistry between its principal performers. After that, it wasn't a surprise that several months later, at the opening of Third Man Records' (Jack's recording studio) new home in Nashville, The Dead Weather was announced.

This new project between Mosshart and White came as a surprise announcement, but eventually grew to a new hype machine, driven by two of the greatest lo-fi garage artists of our time. Joining Mosshart on vocals and Jack on drums were Raconteurs bassist, Jack Lawrence, and Queens of the Stone Age guitarist/keyboardist, Dean Fertita. The day the band was announced, the quartet performed their debut single, Hang you From the Heavens, for all in attendence at Third Man's opening. What they heard was a smashing, blues-rich track, filled to the brim with distorted riffs and lyrics about broken, difficult love; all involved knew they had a hit on their hands.

Recorded in three weeks (three weeks!) in January of 2009, the end product is as dark, devious and debonaire as the debut single. Influences from both bands' respective styles fuse into a new kind of blues: one that is as tortured as it is powerful, as helpless as it is overbearing. For example, 60 Feet Tall is a prime 1-4-5 blues piece à la Jack White, whereas Hang you From the Heavens is The Kills in a nutshell, both lyrically and musically. Yet it's where the styles overlap that the greatest ground is broken. Songs like Rocking Horse and No Hassle Night, the combined efforts of Mosshart and White on this album, sound so astoundingly fresh. On Rocking Horse, the two bounce between a Nancy Sinatra-esque delayed guitar and a thrashing, distortion-filled onslaught to illustrate the taming of man who knows no true love by a woman who wants his. Additionally, as per Jack White again, a cover of Bob Dylan's New Pony is stellar and refreshing.

This album is organized in a similar fashion to that of a White Stripes or Raconteurs cut. The work ebbs and flows between intimate blues settings with grandiose riffs and truly catchy rock n' roll anthems. Such a transition is experienced between So Far from Your Weapon and Treat Me like Your Mother. Where the former seems like a direct biproduct from a tortured mind, the latter is empowering, aggressive and feminine, fittingly enough. Yet as powerful as the rock can be, the blues can seem repetitive at times. Where both musicians exhibit a vast amount of talent, their final product seems somewhat limited. No track on this album is no-holds barred enough to grab you by the throat and force you to listen. Eventually, I'm sure Jack and Allison will turn the knob to 11 and thrash something incomparable, but for now, much of it feels safe.

As a whole, this album is a thunderstorm. Like a heavy black cloud, it hangs over you the entire time, mauling you with gale-force winds, searing rain, thunder and lightning. There are points where it lets up a little and you think you can move again, but it's the times you're glued to your seat, surrounded by sound, that truly make this album the black and moving piece it is.

Polaris Music Prize: Art for Art's Sake

Canadian music has begun some real momentum on the world stage. Bands and musicians like Kardinal Offishall, Avril Lavigne, Nickelback and many others have developed from their Canadian roots and blossomed into full-fledged music superstars. Yet the greatest irony in the music industry still remains: defined recognition and success for musicians only occurs when they sell records. The most vapid, one-dimensional artists win Grammies and Junos when, realistically, they should never be nominated in the first place.

Enter the Polaris Music Prize. Recently, the 2009 short list for the prize, created in 2006 to recognize Canadian artists based solely on artistic merit, was announced. As judged by a panel of Canadian music critics, journalists and musicians themselves, Polaris has become one of the most reputable names in indie rock in this country. Nominees include Arcade Fire, Broken Social Scene, Metric, Malajube and many more.

Additionally, winners of this prestigious prize have made quite the names for themselves in recent years. The previous three winners (Final Fantasy's He Poos Clouds, Patrick Watson's Close to Paradise and Caribou's Andorra) have all gone on to great success, both home and abroad, after a stint in Canada's music underground. Additionally, they have gained a great deal of recognition from Polaris and the $20,000 dollar prize awarded with it; this has allowed financially strapped musicians with genuine talent a chance to develop their fan base and improve the overall quality of their craft.

I am a great supporter of Polaris for these reasons and one other: the journalistic aspect. This unbiased portrayal of Canada's greatest music each year attracts bloggers and music writers from across the country to Toronto, where through a democratic process, the most deserving act is chose. There is no preference of genre (this year's lineup has everything from post-hardcore to alternative country), nor is there any financial links between jurors and record labels, clubs, performance venues or the bands themselves; it truly is an unbiased selection of the best in Canadian music.

In any case, the Polaris Gala is to be held September 21st in Toronto. Each nominated band will perform a short set of selections from their nominated work before a grand audience of jurors and music fans alike, bringing everyone together for one stellar night of music. This is a night where dreams are realized and pure talent is revealed to the world. This can truly be the big break an artist needs to succeed in one of the most difficult scenes to make it. Polaris is a wonderful thing for this country and our rich musical tradition.

In any case, as it stands, the 10 nominees for the 2009 Polaris Music Prize are as follows:











1) Elliott Brood, Mountain Meadows:
Break out the banjos. Toronto's most renowned alternative country trio is back with their sophomore effort, Mountain Meadows. Delightful folky lyricism combined with a jaunty combination of acoustic guitar, banjo and ukulele make this record as delightful as it is profound.











2) Fucked Up, The Chemistry of Common Life:
Expect loudness. Toronto's Fucked Up is an experimental post-hardcore band with a serious edge. Yet for a band who screams to get their point across, lyrically, they're incredibly profound; one of, if not, the best lyricists of this year's nominees. Driving an elaborately styled aggressive, grungy experimental rock into the skulls of listeners, in only their second full length album (they mostly record EPs on 7' vinyls), this is a Canadian act not to be missed.











3) Great Lake Swimmers, Lost Channels:
Lost Channels further establishes the portfolio of one of Canada's greatest folk-pop exports. Comparable to Iron and Wine, expect a great combination of wordplay and acoustics, yet phases in and out of intimate settings in which these sounds take place. An intriguing record from start to finish, Great Lake Swimmers pull out all the stops on this one.











4) Hey Rosetta!, Into Your Lungs (and around in your heart and through your blood):
Produced by fellow Canadian Hawksley Workman, this St. John's, Newfoundland sextet has already received Album of the Year at the Verge Music awards (along with $25,000), beating out Tegan and Sara and Wintersleep. A venerable rock record with distinctly Newfie vocals and brilliant lyricism, Great Big Sea isn't the only thing musically relevant on The Rock anymore.











5) K'naan, Troubadour:
The Somali-Canadian rapper and poet returns with the follow-up to his equally lauded, Polaris-nominated debut, The Dusty Foot Philosopher. Troubadour features bizarre musical additions (such as Kirk Hammett from Metallica) but retains the same powerful lyricism and brilliant, flowing beats that brought K'naan to Canada's hip-hop forefront. As hip-hop this year goes, this is not to be missed.










6) Malajube, Labarynthes:
Following up a generational album Français-Canadien, Malajube's Labarynthes builds from the musical concepts established in 2004's Trompe-l'oeil: lavish guitar and keyboard anthems that are both pleasing to the ear and lyrically relevant. While the band doesn't capture the same magic as their sophomore sensation, they hit incredibly high highs on this record; international recognition should be soon to follow.











7) Metric, Fantasies:
Emily Haines and company return with their latest effort, Fantasies. All the lyricism and catchy dance-pop guitar one would expect from a Metric album, yet strangely a new level of maturity returns with it. That being said, Metric have another hit on their hands. Fantasies is an excellent addition this Toronto band's already expansive repertoire.










8) Joel Plaskett, Three:
As the name implies, 27 tracks spanned over three albums encompasses Joel Plaskett's Three. Minus the Emergency, his backing band, Plaskett creates a three-headed monster for himself: a rock, country and ambient-infused Nova Scotian sensation; think Canada's version of Ryan Adams. Plaskett as a songwriter is practically incomparable on this list.











9) Chad VanGaalen, Soft Airplanes:
Speaking of incomparable songwriting (and segues), Chad VanGaalen's latest record further establishes a true master with the pen and the guitar. Basement recordings, complete with distorted background noise, create an album that shines images from a broken movie projector into our minds with (ironically) brilliant clarity. Expect acoustics and banjos to enlighten once more.










10) Patrick Watson, Wooden Arms:
Already the recipient of one Polaris prize, Patrick Watson's sophomore jem Wooden Arms explores the depths of emotional connection to music, with vibrant melodies and enchanting lyrics to capture any Canadian indie's heart. Beautiful ballads, Jeff Buckley-esque vocals and a wide variety of instrumentation are to be expected, as with any work by this band; brilliant doesn't even begin to do it justice.

Porcupine Tree Give Listeners Some Finnish Fun

Porcupine Tree - Transmission 10.1: Ilosaarirock (Live)

Overall: 8.7/10
Sound: 8.5
Quality: 9
Impression: 8
Live Impression: 9
Production: 9
Tilt: 8.8

Porcupine Tree's stranglehold on heavy progressive rock supremacy has only gotten tighter. With the band's recent masterpiece, Fear of a Blank Planet, combining the proggy production techniques of old with a more user-friendly metal backdrop, this Hertfordshire-based quartet is adding more depth to its already diverse and outstanding catalogue, all while adding more fans along the way.

Recently as well, the band has created their own record label, on which their collection of live albums can be found. A series of XM Satellite Radio broadcasts, a re-touch of Lightbulb Sun, a live EP in Florida and a live album in Warsaw, Poland, have all been released on Transmission records. Most recently, the band has put the final touches on a live set at the Ilosaarirock festival in Joensuu, Finland. Recorded on July 14th, 2007, shortly after the studio recording's initial release, the record touches on much of Fear of a Blank Planet (including all 18 minutes of Anesthetize), with a few favourites thrown in to spice things up.

The highest point of this record is probably the clarity of the recording. In general, a festival recording in an outdoor venue (especially for a record) has the potential to be uneven and poorly mastered in studio. Intereference, problems with equipment and just poor vantage points in a stage atmosphere can cause a great band to sound horrible on a live record. Wilson mixes the tracks masterfully, giving the appeal of a live set and still capturing the atmospheric PT sound. The production quality is always stellar with a PT record. Flawless transitions and crisp 5.1 sound pierces the ear in all the right locations.

Musically, the band stuck to the basics. Each track held true to the original recording, down to layered keyboard effects and intricate guitar solos. While I would have liked a little more freedom on solos and improvisation to give the crowd something more to cheer about (with the exception of great solos in the set's finale, Halo), the current material on Fear of a Blank Planet was more than enough to please. A spacey intro opened the set with the album's title track which viciously and venemously veered into the heads of the audience. Going through a good chunk of the new repertoire (including all 18 minutes of Anesthetize, a track which Steven Wilson asked the audience to indulge) as well as some of the old favourites (Lightbulb Sun, Open Car, Blackest Eyes), Finland observed as complete a PT set as ever.

Much like their current releases, Porcupine Tree focused on a more metal sound. Tracks like the teenaged anthem Fear of a Blank Planet, the majority of Anesthetize and Way Out of Here (all off their latest release) all delved into PT's metal repertoire. Extended solos on both Anesthetize and Open Car are to be noted. Both were executed flawlessly and made lasting impressions on the audience. However, Wilson did bring out the acoustic guitar to play Trains as a first encore for an excited Finnish crowd, eager to hear In Absentia's masterpiece. In the end, after a stellar rendition of Halo, fans could do nothing but endlessly shoud, "We want more." I couldn't agree more.

Listening to new band or genre of music is like buying a new pair of shoes. For that first little bit, the shoes are uncomfortable for the most part: the back rubs against your heel, your toes can't readily move and the rubber doesn't conform to your foot properly; all the same though, you love that superficial aesthetic quality you can't get anywhere else. However, once you've worn them for several weeks, the aesthetics still gleam but it's more than that: you have a profound appreciation for the feel and look of your shoes, not just the sense of having them.

This feeling was given to the fans in Finland on that night in July. For many, this was the first time they had ever heard or listened to Porcupine Tree; many never owned a CD, heard a single or even knew what kind of music they would end up playing. What they ended up hearing was a spectacular rock performance from start to finish: well rounded and solid from beginning to end. While all of it was somewhat linear and didn't exude an exciting feel at all points, for lack of a better phrase, they got one hell of a show.

As Wilson conclusively puts it, "Thank you. We'll see you next time. Have a great evening. Have a great weekend. Bye. "

Zeuhl: Progressive Jazz Madness/ BWAAAH!?!?!?!?

In progressive rock music, one of the most understated genres is zeuhl. While some have called this oddly outlandish music transcendent and magical, many progressive listeners cannot comprehend exactly what it is trying to achieve. And thus the debate begins: is zeuhl really a jazz-inspired music phenomena or do these musicians have no idea what the fuck is going on?

First things first. Zeuhl is classified as a blend of genres of progressive rock and jazz alike. Links to fusion, avantgarde, RIO (rock in opposition), neoclassicism, jazz, choral music and even music as far off as funk and soul have been connected to its collective entity. More bizarre than that, the themes of authoritarianism, surrealism and science fiction writings encompass its literary aspects. Musically, it can be recognized for its homage to the early works of John Coltrane and Igor Stravinsky, an intense bass presence, songs sung in the constructed language Kobaïan , a dominant piano and vibraphone, and chanted.

I believe I speak for a lot of people when I say, "What the FUCK does that mean!?!?!??!"

In a completely unjust attempt at describing zeuhl, imagine a slightly up tempo drum riff and a throbbing bass line. As this moves forward, throw a variably motile piano concerto over it all and plug a guitar player in the back, working a solid groove on a delicate riff. Once there, imagine variable female and male vocals chanting in a far off language. Throw between 2 and 15 minutes of solos and improvisation in the middle, similar to any jazz piece, and top it all off with a grandiose conclusion. On average, zeuhl will appear as such.

Where the origins of zeuhl music begin, so too does Magma. Formed in 1969, Magma is the most influential body in the genre. The band is headed by classically trained drummer, Christian Vander, his wife Stella and continuously varying cast of musicians (notably vocalist Klaus Blasquiz, bassist Jannick Top, string player and composer Didier Lockwood and former Gong bass player Francis Moze).

Vander's music is written entirely in his own invented language, Kobaïan. Through the use of this language only, Vander tells a tale of refugees fleeing Earth, condemned to destruction. to settle on the planet Kobaïa. Eventually, these people settle and discover that they are not alone on this distant planet. Each of Magma's 9 studio works recount the lives of the Kobaïan people and the trials they must face. Much of Vander's language has been translated, but there remain aspects yet to be revealed.

With an expressive nature to its avantgarde music, Magma drew many fans and contemporaries. Between 1973 and 1984, bands such as Eskaton, Zao, Univers Zero and Art Zoyd have drawn from Magma's works, some singing in Kobaïan but none capturing Magma's initial essence exactly. As this period drew to a close, many of the members of Magma delved further into their solo projects, leaving their genre-defining super group behind. Christian and Stella Vander together formed the Christian Vander Quartet along with the jazz offshoot Offering throughout much of the 80s and occasionally performed around France with Magma during that period.

That being said, a new wave of zeuhl music was about to take shape. In 1985, Japanese drummer Tatsuya Yoshida discovered Vander and Magma and became entrenched in zeuhl. A progressive rock musician and composer himself, Yoshida, along with several bass players, created Ruins. Ruins developed a unique style, singing traditionally in Kobaian, but also riffing and free styling further than any zeuhl band thus far. Along with Ruins, Yoshida formed Koenjihyakkei: a similar zeuhl-based band, with less chaos and more progressive styling.

This was the beginning of zeuhl's second wave. Japanese avantgarde prog bands turned towards zeuhl and freestyle jazz as a source for inspiration, creating unique sounds in the process. Ruins and Koenji begat avantgarde quartet Happy Family, Yoshida band YBO2 and more recent zeuhl-inspired creation Bondage Fruit. The Japanese underground is growing slowly on the zeuhl genre, but one thing is certain: Vander's mastery survives.

The intricacies of music know no bounds in the zeuhl genre. A diverse variety of musicians, classically trained and not, have taken liberties and created some of the most intriguing music imaginable. No matter how it is perceived, that fact is undeniable.

Metric's Fantasies...and every Canadian indie's as well

Overall: 7.6/10
Sound: 7
Quality: 7
Lyrics: 9
Impression: 7
Production: 8
Tilt: 7.6

Two artists are looking for direction. One has poetic license running through her veins. The other is a Brit studying at the Juliard School of Music. How they met in Toronto and started collaborating, I'll never know. But that's not even the most incredible thing about Metric. Classically-trained musicians delving into mid-80's synth pop in the 2000's music era seemed bizarre, unorthodox and completely taboo. Oh yeah, and it was amazing too.

The band's latest effort, Fantasies, is an example from the already vast repertoire of Metric diversity. From the opening drum beats on Help I'm Alive, you can tell what you're in for: a rich soundscape, brim with synthesizers, potent drums and driving guitars. Emily Haines provides the cherry on the indie rock sundae with a voice to die for, brim with as much vivacious expression as intriguing contempt. Yet as you peruse through Sick Muse and Satellite Mind, you notice something: Metric is evolving. Where once there was almost a pretentious attitude that made listening to the band an abrasive ordeal, Metric has seemingly returned to a natural state in which they can thrive. They are people once again: performers and no longer drum machines.

Headlining this work is Emily Haines' lyricism. While deeply routed in romance and sexuality, like much of Metric's previous work, Haines broadens her horizons, delving into anxiety and depression, the nature and definition of success, obsession and idol worship in 21st century society. One thing I deeply respect about the way Haines performs is the reduced nature of her voice. Listening to a catchy powerhouse track like Gimme Sympathy, Haines' voice almost feels like a backing track compared to the piano/guitar combination; as much as she's speaking for the music, the music is speaking first. However, she shines most in songs like Collect Call: this woman feels fragile singing, "I know it's a lie, I want it to be true/The rest of the ride is riding on you," and those emotions easily reflect on the listener.

Musically, the album spawns from the same formula seen on Old World Underground and Live It Out. A guitar or piano backdrop commences a synth-filled orchestration of sonic intensity on tracks like Gimme Sympathy, Gold Gun Girls and Stadium Love. While this traditional Metric signature gives the band its unique and personable sound, it becomes a little dry and overdone by the time you reach track 7 (that was the biggest vice of 2005's Live It Out). What differentiates Fantasies is the maturity brought to the table: songs like Help I'm Alive, Twilight Galaxy and Collect Call make the journey seem less arduous with a mellow spin to accompany. The variation gives the listener gaps to anticipate the next high rise, which is unique to the album and separates it from the rest of the Metric catalogue.

While the listener flows down this album like a new wave river, they reach the end and are confused to get off. While Stadium Love comes off conclusive, the entire album concludes in around a half hour easily: much less than enough time to get into the groove. As soon as that final track finishes, the listener immediately feels like they missed something; that doesn't go away on the second listen either. Metric, to me, has always been like chocolate: immediately satisfying but that feeling is quickly replaced with self-doubt. It took me two or three listens to really see the high aspects of this album as it all went by so quickly and with such instant gratification (I was whistling Gimme Sympathy right at the end...that's about it). Not to say the music is empty, it's far from it. Instantly though, you won't get much from it and that's a problem.

In its entirety, Metric treads new terrain with Fantasies. Haines' lyricism is no longer completely lost in translation and the depth in the musical expansion has grown exponentially. The band is real now and they've accepted that role with open arms. More profound soundscapes would be recommended for the band to reach its vast potential, but until then, it's fans will be more than happy with letting loose and grooving out to songs like Poster of a Girl and Succexy. It's been said that the most difficult music to make is prolific pop: music that, when given 3 minutes, sends both a catchy beat and an excellent message. Thus far, Metric has shown Canada and the rest of the world exactly that.