Emily haines and jimmy shaw dating
"That's what we're supposed to be doing, and improving and succeeding and leaving things behind.
But what I discovered and what I continue to discover in my life is that all the good stuff is when you can go back and stand in that same corner that you stood at when you were 15 years old and actually register what – that's the scientific way to register how you've evolved - what remains the same about you; the essence of who you are."While examining personal experiences plays a part on the record, Haines also delves into the feminine spirit, a subject she has been dedicated to, both on record and in action.
"The whole process of why music needs to happen when it needs to happen has always been mysterious to me," Haines tells Rolling Stone.
"We function very much outside of a commercial imperative, so this one, it just was time." It's fitting then that Haines is on the road with Broken Social Scene in synch with preparations for her next Soft Skeleton album. The musician released Knives Don't Have Your Back around the same time she appeared on another big festival date with BSS, at Lollapalooza in Chicago.
“Our impetus going into it was: let’s just let this music be what this music is, as opposed to something that we’ve done in the past, you know? It gave us confidence to have songs without drums or without guitars—just go full into whatever we were feeling at the time, which is what we ended up doing.” Indeed, the guitar chords that existed in abundance on Metric’s previous two records are far less discernible on Pagans, giving way to keyboard-and-synth-focused instrumentation—the lead single, “The Shade,” is a prime example and offered an accurate preview of what fans were in for this time around.
The Canadian act has spent the better part of 15 years solidifying its collective identity as synth-rock darlings, its previous albums calling to mind anthems like “Help I’m Alive,” “Monster Hospital,” “Stadium Love,” “Gimme Sympathy” and “Youth Without Youth,” but Pagans—while still easily identifiable as Metric at its core—added a new dimension to the band’s already colourful sonic palette. “It felt very much like Fantasies and Synthetica were sort of like brother-sister records, and we didn’t want a third kid: we wanted a whole other thing.There’s no release date for the second one yet (the album’s working title is LP7), but the upside of Metric being an independent band working under its own label (Metric Music International) means its got the freedom to see it through on its own terms.“We recorded the album last summer while on tour with Imagine Dragons, but we were so busy, and it was a classic Metric thing where we probably bit off more than we could chew,” Shaw says with a soft laugh, noting that when the band wrapped the tour the release date for Pagans was only a month away, which meant being slammed with promo and press—leaving little time to give a yet another new album any thought.“At this point everything from parts of Live It Out—which is the most raw, sort of punk just straight-up rock band—to parts of Pagans where there’s no rock at all, and probably something like ‘Help I’m Alive’ is the thing that resides right in the middle.