Metric Where Are You Now?

• 28th Apr 2005

On 30th May 2005 Canadian art rock outfit Metric release their debut album ‘Old World Underground, Where Are You Now?’ through Everloving Records.

Metric are the creative partnership of singer/synth wiz Emily Haines and guitarist James Shaw, a duo who through their period together have never settled long enough to be defined by any city, scene or style. Their time in Toronto cemented a solid friendship, becoming members of Canadian’s Broken Social Scene (who Haines and Shaw still collaborate with), Montreal turned them into soulmates; and London brought them songs (they worked with New Order producer Stephen Hague on a series of drum-machine-driven electro-pop records). But it was New York that finally made them the band they are today when they met up with Josh Winstead (bass) and Joules Scott-Key – no relation to US national anthem composer Francis Scott-Key – (drums). Sharing a house with the Yeah Yeah Yeah’s and The Liars in Brooklyn’s now trendy Williamsburg district made them major players in the New York retro-art rock scene but instead of confining themselves to that particular pigeon-hole the band decided to decamp to their current tenure in LA to work on this, their debut album. Produced by Michael Andrews (Donnie Darko soundtrack) the album – an Elastica, Yeah Yeah Yeahs fusion of fuzzed up synth-pop with a political edge includes last year’s single, the sassy, catchy-as-hell three minute blast ‘Combat Baby’.

Metric will be supporting Death From Above 1979 throughout May in support of the album release. Catch them live at the following places:

MAY

18 Portsmouth Wedgewood Rooms
19 Bristol Fleece
20 Leicester Charlotte
21 Liverpool Academy 2
22 Manchester Academy 3
23 Edinburgh The Venue
24 Newcastle University
25 Leeds Cockpit
26 London Scala

“Old World Underground, Where Are You Now?’ rocks like a sexy librarian: smart, sassy, and classy.” – Spin Magazine

“This LA quartet artfully fuses Brit pop, punk guitar and swirling synths, while singer Emily Haines delivers sweet irony.” – Rolling Stone