There's nothing else on Formentera that comes close to the majesty or stature of Doomscroller, but there are plenty of thrills to be heard across the remaining eight tracks. Lead single All Comes Crashing marks as effective a meeting between their rock muscle and pop hooks as they've produced in recent memory, with Emily Haines' formidable and underrated voice elevating the song to meet James Shaw's bouncy lead guitar at the summit. What Feels Like Eternity is an energetic new wave rocker that is possibly the album's most straightforward moment, albeit more than effective in its delivery. The first half closes with the title track, which features slow burning orchestral touches and a meaty pop instrumental that's punctuated by Joshua Winstead's most outstanding bass line on the album (while Joules Scott-Key doesn't get a true standout moment on the record, the drumming also deserves mention for keeping the rhythms tight throughout). This track stretches out over six minutes, acting as another example of Metric's approach of letting their songs breathe; when everything fades out and the strings come back, it's a triumphant ending that gets eerie as it's pitched and slowed down like a record losing speed.
The second half starts with a quick speeding up into Enemies of the Ocean, a nice touch that will go unnoticed by anyone not listening to the album in sequential track order; it's a little thing that speaks volumes about the attention to detail undertaken in the record's creation. That said, the track itself underwhelms a bit, perhaps due its place as a slow burner immediately following a slow burner; it's not a bad song by any means, but its inclusion where it is marks for a stretch of over eleven minutes where Formentera is kind of going at the same plodding pace. I Will Never Settle starts out with a quiet, slow section that exacerbates the feeling of being stuck in the sonic doldrums and, while it threatens to pick the pace back up through its skittering background beat, by the time the guitar line arrives and the song finally makes good on the tempo shift, the song is half over and the difference it makes to the overall quality of said song isn't as impactful as it was likely envisioned.
This brings us to the closing trio of tracks; False Dichotomy is a welcome return to synth-rock banger territory, featuring a sinewy, neon vibe that practically lets you smell the sweat of the club but is ultimately held back by perhaps the weakest chorus on the record. Penultimate track Oh Please keeps the fog machine and lasers turned on while offering a thicker beat and a darker aura, with warbly electronics leading into a much stronger chorus. Then, there's closer Paths in the Sky, which acts as a decompression and/or ray of sunlight, ending Formentera on a pleasantly upbeat note.
Overall, Metric have created another winner with Formentera, although it's a winner that does the vast majority of its damage early; if there's anything truly working against it, it's that its first half is so excellently performed and produced, the second half falters in comparison despite there being some very good material present. I don't know if I could have sequenced it into a more effective presentation or not, but I do know that the midsection lull takes a good amount of wind out of the record's sails. Still, that's a nitpicky criticism on my part, and one that shouldn't overshadow the fact that Metric are still successfully expanding and exploring while many of their peers have grown up and blown away.
July 8, 2022 • Metric Music International
Highlights Doomscroller • All Comes Crashing • Formentera
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