Search - Emily Haines & Soft Skeleton :: Knives Don't Have Your Back (Dig)

Beauty at it's best!

Cale E. Reneau | Conroe, Texas United States | 09/29/2006

(3 out of 5 stars)

"Any diehard Metric fan who is desperately searching for some new Metric-ness from Emily Haine's first solo album, "Knives Don't Have Your Back," should turn away and pretend this album doesn't exist. Honestly, "Knives Don't Have Your Back" is many things. But it is not a Metric album and with the exception of Haine's always-beautiful voice, there is nothing here that would even hint that this woman is partly responsible for the indie-rock sensation that is Metric.



No, this album is far different than anything we've heard from Emily before, and though it could potentially turn away many of her fans, a thoughtful listen will reveal the beauty of "Knives Don't Have Your Back."



Let's run through this real quick. Piano? Check. Emily's vocals? Check. Drums, guitars, and other instrumentations? *crickets* Cleverness aside, that's essentially what this album is; Emily playing the piano and singing. Sure, there's an occasional percussion track here and there and a hint of bass guitar or two, but for the most part, it's as simple as Emily on piano. The surprise here is that it actually works, and I can't imagine this album being a success in any other form than it is.



Emily's lyrics have been a bit personal from time to time, but she really opens up on "Knives..."



Take for example, "Numb is the new high, old memories die out 'til nothing and nowhere is golden" which is immensely more poignant and touching than any Metric song has ever been. But fans of Emily's biting style of social commentary will have no problem with this album, either. Having never shied away from telling it like it is, Emily comes off as brilliant with a line like "We don't know how to help. Only know how to hump," and even though it's presented in a manner that is the exact opposite of Metric, it's the same Emily Haines that Metric fans have come to love.



Enough on the lyrics. As I stated before, this album is really just Emily on piano. The thing is, with such great lyrics flowing through the heart of every song, the omission of a band really makes these songs all the more powerful and touching. It adds a bit of vulnerability to a woman who we've only seen rocking out with a bunch of boys. It's personal, amazingly personal, and Haines is really allowing herself to be vulnerable. But beyond that, there is actually some great music here, albeit toned-down and somewhat simplistic.



As a fan of Metric, and now of Haines, herself, I have to say that I was initially disappointed with "Knives Don't Have Your Back." It is definitely not a Metric album. But what it is, is beautiful, touching, personal, and, at times, heartbreaking. Any fan of Emily Haines' lyrical stylings should definitely check out this album. Although I can't see myself making this album a priority for months to come, I can definitely foresee it getting multiple plays in my stereo, if only as a soundtrack to the winding down of my days.



Recommended for fans of Tori Amos, Metric, and anyone who really wants to know all about the inner workings of Emily Haines.



Key Tracks:

1. "Our Hell"

2. "Doctor Blind"

3. "The Lottery"

4. "The Maid Needs a Maid"







3 out of 5 Stars"

Songstress Haines flexes her solo muscle

Ben Rowland | Toronto, Ontario Canada | 09/30/2006

(4 out of 5 stars)

"Anyone who follows the Toronto music scene is no doubt familiar with Emily Haines, the quirky frontwomen of indie band favorites Metric, and occasional member of the excellent rock collective Broken Social Scene. "Knives Don't Have Your Back" is the first commercially released solo album from Haines, not counting her self-released and long out-of-print 1996 debut "Cut in Half and Also Double."



"Knives Don't Have Your Back" is a great album that barely misses the excellent mark, with many of the songs sounding similar and few standout tracks. As a whole, the album is pleasant, melodic, and downbeat - a stark contract to Haines's day job. I see this as more of a strength, as her voice lends itself well to piano-driven ballads, but diehard Metric fans might not be so enthralled. The album starts with three excellent tracks, "Our Hell," "Doctor Blind," and "Crowd Surf off a Cliff." While none of these songs are contenders for extensive radio airings, they are well written and superbly executed soft rock songs. Haines has progressed as a songwriter over the first two Metric albums, and it gets better here. The musical arrangements on later tracks, such as "Reading in Bed," "The Last Page," and "The Lottery" are also high quality, with piano and guitars mixing well with organs, pedal steels, and even trumpet. My one complaint, as noted above, is the "sameness" of the songs. Many of the songs begin and end in a similar fashion, and none of them are standout tracks along the lines of "Death Disco" and "Poster of a Girl." However, I can't resist Emily's voice and songwriting style, so I am far from regretting this purchase.



Mad props also go to the album's packaging. I love albums with extensive liner notes, something that the two Metric albums totally lacked, so this was a nice surprise. The album is presented in a handsome, hardcover digipack, with full lyrics included.



Emily Haines is one of indie rock's most intriguing figures, and like Jenny Lewis, she has proven that she can work within different musical styles while remaining distinctive. Hopefully, her audience will continue to grow as a result.

"

Emily Haines Fans- Dig Deeper

Mark S. | Chicago | 10/07/2006

(5 out of 5 stars)

"OK, I really love this record. Some of it's pretty sad, all of it's pretty beautiful, and the best part- 100% Emily Haines. If she isn't the most creative, talented, artistic person making music in the alt/rock world, I don't know who is. Warning, repeated listening may cause depression in the thoughtful or weak of heart!



As far as other reviews calling metric's music, "consistent" I have to disagree, and I think this work is very similar to the early, out of print hard to find metric music. That early stuff shares little with their reformatted approach since Old World Underground. If you've heard the Metric track 'Butcher," this CD's sound will be familiar- esoteric poetic lyrics set to somewhat stark melodic music. So think Metric, Part I, and this music WILL be familiar.



Digging deeper yet, Emily's father's influence is naturally present in everything she does, and in this record's case, she's not even tried to hide that fact. Just compare this album's packaging with her Father's work with Carla Bley on "Escalator Over the Hill." If you're an Emily Haines fan, you may seriously want to study up- it'll be worth it!"