the Meticulous Metric return 

In January 2003, Metric had no idea what would happen to them over the next two years and nine months. Following the scrapping of 2002’s Grow Up & Blow Away amidst release issues with Restless Records, the band finished debut album number two, Old World Underground, Where Are You Now?, and once again had to await an album of theirs to be unleashed upon the public.

When the album finally hit shelves during the summer of ‘03, Metric—Emily Haines (vocals, keyboards), Jimmy Shaw (guitars, vocals), Josh Winstead (bass) and Joules Scott-Key (drums) —made a van their home, and toured the heck out of an album that essentially changed their lives forever.  

It didn’t make them millionaires, but it made them wise, and according to a recent report found on mtv.com, almost broke them up—just don’t tell Metric that.
 
"If you work for two years straight, you might hope to have something in the bank when you get home,"explains Haines during a mid-afternoon chat. "But to be exhausted and not be able to pay your rent, and actually not be able to have an apartment, I think you’d be hard pressed to find anyone who doesn’t get a little shaken by that.  But we all came through."

"I think any band that tours for two years straight are going to take a bit of a break at the end of it," adds Shaw.  "In describing that we were all getting on each other’s nerves at the end, and needed to get away from each other, I think that was misconstrued."

Throughout that time of their incessant working schedule—including those two years of touring, Metric did also experience a fair share of highs on their rock ‘n’ rollercoaster ride.
 
For one, as the tour and buzz grew surrounding Metric’s electro-pop sneering guitar and rock-club-ready sound, albums began to move slowly but surely.  Shaw is quick to point out that Old World is currently moving more units now than at this point last year, and overall, has sold between 60,000 to 100,000 copies worldwide which is more than decent for an indie release.

Secondly, those sales, along with being able to sell-out four straight nights at Toronto’s Mod Club Theatre in January ‘05, not to mention numerous other rocking rooms within America, Japan and Europe, has afforded the band the opportunity to dish out a new record while still riding the wave of their radio hits "Combat Baby"and "Dead Disco."

Due out September 27th in Canada, and October 4th in the States, Metric’s latest offering, Live It Out, is a 10-track collection once again dominated by Haines’ poetic lyrical charm, Winstead and Scott-Keys’ rumbling rhythm section, and Shaw’s usually charismatic chords, all of which are present on stand-out tunes like "Handshakes," "Poster of a Girl," and the lead single, "Monster Hospital."

Though this time around, it’s Shaw who truly showcases his talents by not only providing all of the guitar work, but by also taking on the role as Metric’s album producer. This bold move allowed him to ensure that his band puts forth a musical statement they could firmly stand behind.

"The thing about making records that gets scary for a band is that you’re really dictating what the next few years of your life are going to be like," says Shaw. "In the lyrics you say, in the tones that you use, you’re going to be hearing a lot of that in the future, and you have to do some sort of job of replicating it, so it‚s a very personal thing."

"We were just hoping that we hadn’t lost the plot, if we ever had it to begin with," laughs Haines. "For me, I wanted to not be too self-absorbed. It was important to me to remember who we’re making this music for, and that it is a dialogue, it’s not a monologue."

When thinking back to the recording sessions themselves, Haines recalls that "the vibe in the studio was great"while Shaw admits that at times he did have "some trouble letting go" of the songs. But for Metric, it was the freedom of this recording process that allowed them to achieve the harmony Haines refers to.

Throughout the making of Live It Out, the band would record songs, throw them on an iPod, go play some shows, and, once back at the studio, make the necessary adjustments if need be—all without any pressure from their label, Last Gang Records.

Unfortunately though, now with an established fan base, a different kind of pressure is apparent.  Can Live It Out appeal to their audience the way Old World has and continues to?  
Haines believes so, as she thinks that "now we feel a real loyalty to our fans," and that Metric are quite aware of what those very fans will enjoy, which didn"t happen with Old World, because the band really didn"t know who their audience was. With that being said, the next couple months will either prove or dispel that theory.

Regardless, here’s Metric today, two years and nine months since relative obscurity, ready to embark on a 40+-city North American tour, in support of a heavily anticipated album. With an old world‚ now behind them, a new one appears to be awaiting them with open arms and ears.

The stakes are higher, the excitement is palatable, but Metric remain Metric.  Against all hype, and all about the music.

"To me, my definition of hype is an artificially created excitement," Haines strongly suggests. "No one’s entitled to anything. No one owes me a living, and no one owes me the chance to be a musician."
"It’s just the idea that we worked hard to create something," Haines continues, "and the whole point was that it would matter to people, and help them out, or reflect what they’re feeling. It seems in that regard, we’ve been really successful."

"People blow a lot of hot air up your ass," quips Shaw. "As long as you don’t buy a lot of it, you’ll be fine."