Self-reflection is typically best when the mirror staring back does not have cracks or warps. After two and a half years of development and reflecting on their musical journey, indie, synth-pop band Metric released its 11th studio album: “Romanticize the Dive.” While the record’s lyrics bleed with emotion and meditation on the past, the band’s reflection only went so far, as the 11-track album caged vocal expression, teetered into the formulaic and flirted with dullness.
The nostalgic journey begins at “Victim Of Luck.” Synthesizers take a back seat to lead singer Emily Haines’ vocals. Through the song, Haines discusses her feelings of self-doubt, questioning if her musical success stems from luck. The pre-chorus stands out from the rest of the song, with strong, patient synthesizer chords and drum kicks guiding Haines’ voice. It cleanly juxtaposes with the up-beat chorus, giving the whole song stronger variety. This song largely provides the album’s outline.
The second track, “Wild Rut,” describes the band’s independence, with Haines declaring, “I don’t say what they want me to say.” The graceful piano and synthesizer opening transitions into a heavier, fast-paced verse led by drums. Both motifs then combine in a harmonic chorus, washing away the listener’s past, before bathing them in a pool of tranquility in chorus two. One could only dream of experiencing this track while sitting alone in the grassy Sombrilla during golden hour in a fit of melancholy.
From here, though, cracks begin to show. Track three, “Time Is A Bomb,” suffers from burdensome, repetitive lyrics and structure. Unlike “Victim of Luck,” the contrasting, heavenly prechorus and harder chorus are jarring, offering too little variation and no transition in between the two. Next, robotic, staccato vocals obliterate any opportunity for “Crush” — another horrifically repetitive track — to shine. Relief is only found when Haimes stops singing every now and then.
Repetition and minimal variety, again, chip away at the album’s final two-thirds. Most tracks, such as “Tremolo,” “Loyal” and “Antigravity,” are all-or-nothing. Vocals take the center stage but lack variety. Many segments, whether at higher or lower octaves, stay within the same two or three notes. Track six, “Moral Compass,” appears to be what these songs are attempting to replicate. Featuring grand crescendos akin to Metric’s “Formantera” or “All Comes Crashing,” “Moral Compass” leads the way with a scaling lead guitar, oceanic synth notes and dramatic backing chords.
The band then makes a bold promise, saying they will “Leave You On A High” for the final track. The song is an improvement on the previous few, since it does not sound like it belongs on the album, being more akin to their work in “Synthetica”; however the same rhythmic drums and guitar are enjoyable for only so long.
“Romanticize the Dive” avoids any standout terrible tracks, but few scathe greatness. Monotone or blurred vocals squander otherwise comforting instrumentals. Reflection appears to be the album’s main theme, but Metric has seemingly forgotten the dramatic buildups that made their previous work great.
