Kid Metropolis
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Kid Metropolis

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"Kid Metropolis, A Sound to Fill a City"

Though the name Kid Metropolis may conjure images of a city hardened DJ with a turntable and drum machine, the moniker actually belongs to a Montreal quartet that seems to have far grander ambitions that making people bump on a dance floor. These songs are designed to fill stadiums.

From the buzzing keyboard notes that open the unusually titled “Dear Bob Costas, Elvis Lives,” the band builds a somber backdrop for a song that winds through multiple passages of pulsing guitar lines pushing ever upward, bubbling bass lines, and soaring vocals. The soft atmosphere and glossy textures carry a troubled chorus that bends and weaves and doubles back on itself, rising and falling with the swirling drums and the commanding but somber performances of vocalist Bayan Foyle.

That subtle theatricality colors the quivering piano balladry of “When I Felt the Bullet Enter My Heart,” where Foyle struggles to reassure himself over oohing and ahhing backing vocals and a thoughtfully probing piano line. Here, Foyle’s ability to invest a genuine human vulnerability into his lyrics make potentially self-serious lines such as “For just a moment let me imagine what it might feel like to be OK” more sincere than melodramatic. To counter that power balladry, the band sinks deep in the snarling guitar lines and space rock synths of “Self Portrait,” a tougher, more edgy track where Bayan goes from Thom Yorke-ish falsetto coos to sky splitting screams over the course of three minutes.

The space tunnel whoosh, handclaps, and churning guitars of “Are You With Me or Against Me?” make for their finest moment, however. Full of mewing synths, triumphantly galloping piano lines, and a tambourine-shaking chorus that manages to be both conflicted and celebratory at the same time, it’s the song that comes closest to laying out a blueprint for a band that is figuring out what patch of atmosphere they want to cultivate and make their own. It’s a sound that could fill stadiums, cities even.

- Matt Fink (Courtesy of -

"October Reviews"

Kid Metropolis
A Blueprint for Modern Life (Independent,
Kid Metropolis provides a mixed bag of moods and melodies. While the album is bookended by a pair of somewhat cheesy piano ballads, what lies between is an admirable collection of upbeat pop-rock tunes. The production is slick and loaded with background beeps and whirls. Liberal use is made of reverbed guitars and synths to elevate the overall sound, yet the songs are grounded enough that they don’t quite take off into the stratosphere. Vocalist Bayan Foyle provides sugary sweet vocals to tackle some unsugary songs about heartbreak, heartache and more heartbreak. The songs are hit and miss: “Dear Bob Costas, Elvis Lives” tends to drag a bit, while “Are You With Me or Against Me” is a catchy pop masterpiece. Meanwhile, “A Tale of Hope and Fear,” the heaviest track on the album, is almost a direct lift of Evanescence’s “Bring Me to Life.” Kid Metropolis seems to be at their best when they’re at their loudest, where their knack for urgency and drama can really shine. - Jon Sohn

File next to: Marvelous 3, Jimmy Eat World - Wavelength Music Series + Zine

"Kid Metropolis @ Kathedral - NXNE 2007 Report Card"

Kid Metropolis @ Kathedral
Monday June 11, 2007 @ 12:30 PM
By: Staff

Band: Kid Metropolis
Hometown: Toronto, ON
Venue: Kathedral
Date: June 9, 2007
Reporter: John Papamarko
Background/Composition The name Kid Metropolis conjures up images of robots, societies in space and infinite possibilites. Sadly, this is earth and things are finite. Kid Metropolis are good, but they're not totally good.

Grade: 79

Comment:Kid Metropolis earn bonus points for sporting some fine looking neckerchiefs, but should probably get rid of them before they walk through any tough neighbourhoods. God knows what gang people might think they're affiliated with. The neckbloods?

Achievement of Rock 'n' Roll Expectations
80-100: Exceeds skill and knowledge expectations, i.e. rocked us so hard we peed our pants.
70-79: Achieves required skills and knowledge. Meets rock 'n' roll standard.
60-69: Demonstrates some skills. Approaches rock 'n' roll standard.
50-59: Demonstrates some required skills and knowledge in a limited way.
00-50: Has not demonstrated required skills or knowledge.

Learning Skills: E=Excellent, G=Good, S=Satisfactory, N=Sad Really

Oral And Visual Communication

Eye Contact: N Strengths/Weaknesses/Next Step:
Pronounciation: E Kid Metropolis are a terrible band to watch live. Singer/keyboardist Bayan made a poor choice when situating his keyboard towards the wall. The only way you could see him was if you were standing by the door, and as a band you probably don't want to drive your audience towards the door. Anyone lucky enough to be sitting stage left got a solid view of the back of Bayan and half a bassist in a pulled down baseball cap.
Stage Presence: N
Stage Banter: G
Image: G
Appearance: G
Use Of Stage: G

Musical Analysis

Level Of Participation: S Strengths/Weaknesses/Next Step:
Problem Solving: G It's a shame about Kid Metropolis' cold fish live show, as they play a rare kind of piano pop punk with elements of electro that is interesting and could form it's own niche. However, pop punk fans want cute relatable boys, and it's tough to relate to someone when they don't engage you at all. Would you buy a CD made by your creepy shut-in roommate? Of course you wouldn't, unless he's Jandek or Thom Yorke.
Teamwork: G
Work Habits: G
Organization: G
Audience Participation: N
Sound: E
Composition: G
Songs: G

Other Skills And Areas Of Interest

Charisma: N Strengths/Weaknesses/Next Step:
Problem Solving: G Do bands not drink on stage anymore? The audience is drinking, and getting impatient, so if the band arent' drunk or charming, the audience gets restless and tired. I'm not advocating that Kid Metropolis should take up drinking. For all I know, they might be Scientologists or something. But seriously guys, lets get loose. Be like The Salads. You have more talent, but they know the score.
Teamwork: G
Sexiness: G
Haircut: S
Indie Rock Footwear: G
Nods To Disposible Fashion: G
Cool Equipment: G
Level Of Inebriation: S
Actual Ability: E

This story can be accessed online at
- chartattack magazine (John Papamarko)

"The Kid Stays in the Music"

Written by Emma Sadowski (Published May 22, 2006)

There is something striking about the eager eyes of the members of Toronto local band, Kid Metropolis, as they carefully watch me reach for my tape recorder and put it on the table.

Formed in August 2004, the band is a four-piece getup comprised of Otello Santini (guitars/keyboards), Bayan Foyle (guitar/keyboards/vocals), Michael Rumeo (drums) and Julian Peticca (bass). Although having only played together for just under two years, the four are already like brothers.

"We have gotten a lot closer in terms of music and all four of us are comfortable with each other," said Santini, who is also the band's manager.

"I think it's getting to a point where we are understanding each other [and] what we want the songs to sound like," furthered Foyle, who just completed his fourth year at York University as an information technology and business administration double major.

Kid Metropolis' sound is unique and difficult to pinpoint at times. Mixtures of heavy guitars, intense vocals and atmospheric keyboards are all present, unlike the syrupy popular music of present day. The band agrees that as their bonds strengthen, their sound becomes more definitive.

"The only thing we really have in common is music," commented Santini, who, along with Foyle, is one of the primary songwriters for the band.

But the band is trying to accomplish something that may present difficulties for them in the future; their newly recorded EP is a concept album. Foyle says the link between songs is like telling a story. The EP is being produced by Ashton Price, who is best known for the work he did with Canadian artist Kazzer.

However, in today's music industry, listeners and music consumers have less of an attention span for songs, which is something that could present the band with some problems when trying to market themselves. Are they worried?

"We have debated over that before, but we've been doing everything our own way, up until now, and so we're going to continue with that. We're not trying to be this mainstream [band]," said Santini, who has spent many hours in the studio mixing the album and aiding Price in putting the whole project together. The band is completely independent, right down to managing their own shows and promotion.

And they must be doing something right. Kid Metropolis landed a spot not only in the lineup of bands to play North by Northeast (NXNE), the Canadian music festival that takes place in downtown Toronto from June 8-10, but they also find themselves on the NXNE New Generations compilation.

"It's huge for us," said Santini with a twinkle of pride in his eye. The band did not expect to be chosen for either when they applied, as they have no official management, album or even record deal.

Their EP, to be released sometime before their release party on July 13, will be synonymous with their live shows, as one song blends into the next creating a different mood. According to Santini, "we want people to like it, but are not concerned about appealing to the masses."
- EXCALIBUR - York University's Newspaper

""10 Bands You Should Know""

#8 Kid Metropolis

Kid Metropolis are another amazing Canadian import who will probably never get the respect they deserve stateside (ala Wintersleep, Ermine.) They have been honing their knack for gorgeous melodic spacey rock for a few years and have found it to near perfection on their debut album, A Blueprint For Modern Life. The band combine the beautiful vocals of Shun with the experimentation of Dredg and pair it with absolutely wonderful song writing. Give this band a chance to tour and make some friends and they could be huge. (Adam Roncaglione)

RIYL: Shun, Dredg, Codeseven, Quitter, Muse, Kaddisfly, Aereogramme -, 07/10/2006

"Editor's Pick - KID METROPOLIS: Future Future"

If you had to venture a guess as to how many people make up this
band, based solely on "The Iceman Cometh," the wonderfully titled
opener on the new disc from these Ontario synth/guitar rockers, you'd
probably say six. Maybe five. The fact that there's only four of them
isn't inconceivable, but it makes the wall of sound they produce that
much more impressive, and certainly adds a bit of intrigue to their
already beckoning sound. Vintage sounds meld with driving, almost
post-modern riffs and melodies, mixing old with new but never sounding
campy or purposefully retro. The falsetto-fueled verses on "Montreal
Inc." are a perfect example, plowing through the grooves with a sleek
urgency that feels both ready to burst and suavely collected. The
synths really put in some work on tracks like "Little Red Devil" and
"Repetition," exposing a side of the band that promises even bigger
sounds and left-field transitions. With precision in the production to
match, this is a record that will grab you by the collar, get right in
your face, and stare you down till it's ready to let go.

- CD Baby Editor - Brad

"The Deep Sea Creatures of Kid Metropolis"

Kid Metropolis is a band that everyone should be able to enjoy. Their music, while angry and aggressive at times, always has a subtle uplifting feel to it. It’s rare for bands to stray from writing the clichéd angst ballads for 14 year olds, but Kid Metropolis manages to do the exact opposite. They write the same style of music that has been abused by so many anger rockers in the last decade, but they focus on the positive. Even if you don’t like their music, you will probably enjoy their message. While the band has been through a lot in the past year, changing their name, losing members and managing to release an EP. For more information on these Ontario rockers, check out the links after the interview.

Trust Me: You recently released an EP under the band name Still Life what was the motivation behind the name change, and do you have any plans to rerecord any of the songs for release under the Kid Metropolis moniker?

Otello: The name change comes with the evolution of the band. Our songs began to morph into something more distinct. There had been a couple of member changes in the band and basically, we felt it was time to progress. The new name, in my humble opinion, is much better than the old so it was a no-brainer. We’re looking at beginning pre-production sometime this summer and we’ll be rerecording at least 2 songs from the demo.

Trust Me: Most of your songs have a very poppy sensibility to them, but they still are heavy enough to carry the rock label, when you sit down to write a song do you think to yourself “Ok, this needs to have a poppy hook at this point” or does it just come naturally?

Otello: Not really. As cliché as it sounds, the songs tend to write themselves. Bayan or I, we basically start out with a formula or a concept of what we want to write. Sometimes that might be influenced by a melody running through head or the music you’re listening to.

Bayan: I’d like to think, the music you are referring to died with the band Still Life.

Trust Me: What type of equipment did you use in the studio when you recorded the Still Life EP?

Otello: Guitar-wise, we used a Mesa Boogie Dual Rectifier through a 1960 Marshall Lead Cab and an old, brown Peavey Tube amp that had a very warm tone it. We also ran the guitar signals through a Line 6 Pod and my personal favourite, the VOX Tonelab SE for further processing and for extra modulation and delay. Julian’s bass recordings were split in two; one through an AMPEG preamp and the other through an Orange AD200B. Ashton Price, who recorded the demo, used the Logic program on an Apple G5 to record and mix.

Trust Me: When recording your EP, what was the typical timeframe for each song and what was the recording process?

Otello: Actually, when we recorded the demo we were on a strict, time-based budget. We ended up dividing the recording of each song by the hour. In hindsight, that’s the not definitely not the best way to do things so when we begin recording the first Kid Metropolis EP/LP it will take a lot more time and energy.

Bayan: I think it was something along the lines of eight hours a song.

Trust Me: Could you detail your songwriting process for us? Who brings the ideas to the table? Does one member take charge of arranging? Etc.

Otello: the songs tend to derive from either myself or Bayan. Either one of us will bring a ‘song’ into rehearsal; in the early stages of the song, the structure is very rough. Then as a band, we begin working on the arrangement and making any necessary changes (i.e. tempo change, key changes). For me, most of the songs I write began on guitar or piano and I typically focus on the progression and sound more than melody – depending on what mood I’m in.

Bayan: I find it almost impossible to write a structure out in a band setting, because it takes me at least 2 or 3 hours to find a progression and melody which I am hardly ever happy with. I couldn’t imagine making people wait around for it.

Trust Me: A lot of your songs seem to center around the time tested theme of “love”. Why so many ballads guys? Some of us single people get sad from love songs.

Otello: You’ll have to ask Bayan about that.

Bayan: Love and Hate are the central themes of the universe. All things attract and repel; the sun and the planets, atoms, negative and positive charges, and ultimately people. In one way or another we are all bound to this premise of love or hate. Some express this on a macro level as a general love for our “starving brothers”, or a general hate through criticism of governments. Myself I don’t presume to really understand what is going on in the world, I don’t think anyone really does… I write about what I know - my own personal experiences.

Trust Me: You guys are playing live shows quite consistently, what drives the band to perform so often?

Otello: We love playing live. Whether it is 100 people or 10 people, it’s always exciting. We also want to establish ourselves as a solid live band, one that will make people turn their heads. We’re not your traditional four-piece rock band. Bayan sings and plays guitar and piano live, I split my duties between guitar and piano/keys and just recently, we added a violin player to our live show. His name is Peter Han and he plays along side us for a majority of our set.

Trust Me: How do you feel the internet has affected your ability to distribute and promote your music? A lot of bands are against file sharing, but it seems that a new generation of independent bands is learning to embrace it as not only a method of promotion, but also distribution.

Otello: I think for a relatively unknown, unsigned band such as us, the internet could only work to our benefit. We’re not against file sharing so long as no one is making money off of it.

Trust Me: Who inspires you? What are you listening to right now?

Otello: Wow. Stephen Hawkins and Ray Kurzweil inspire me. Musically, there are too many to list. I’m currently listening to Joyful Rebellion by K-OS, Daydream Nation by Sonic Youth, Everything Must Go by the Manic Street Preachers, Paul Anka’s new album Rock Swings and Frances the Mute by the Mars Volta.

Bayan: The new Muse album has been on heavy rotation for me, there’s also an independent band from Vancouver called Snake Handshakes that I’ve grown quite fond of. I’d like to think that life experiences and God is what inspires me, technically I don’t think I am a good enough player to actually rip off another artist; I can only play my own music. Nor would I want my music compared to anyone else...

Trust Me: If you could tour with one band, which would it be? And why would you want to tour with them?

Otello: Dredg. In the current state of Music they’re the anti-hero. They create music that may not be commercially successful but is undeniably genuine and heartfelt.

Trust Me: How can our readers get a copy of your music? Other than the download of self-portrait on this very site of course.

Otello: Go to and you will (eventually) find our demo tracks. There are seven demo songs hidden in the site. You can also go to and play some our tunes there. If you want more information or you want us to send you something email us at and we’d be more than happy to help you out.

Trust Me: When you started the band, what was your goal as musicians? Do you feel you have come close to achieving your goals?

Otello: That’s top secret. Seriously, I believe we’re progressing splendidly towards our goal(s) of becoming commercially and artistically successful. It’s not as simple as it sounds but I think those aspects are equally as important.

Bayan: With the rise and fall of my band I want to be able to both reward my friends, and bring pain and suffering to my enemies.

Trust Me: How do you deal with internal tension in the band? A lot of bands break up due to a lack of internal conflict resolution, how do you deal with problems that are bound to arise over time?

Otello: We’ve hired a personal band therapist… We have a pretty open format in terms of letting your feelings and thoughts be heard – all of us in Kid Metropolis encourage each other to say what’s on one another’s mind, regardless if it’s ‘good’ or ‘bad’. I think it allows us to deal with problems that arise, especially before they turn in to something insurmountable.

Bayan: On Friday's we also have Hawaiian shirt day at practice. I find it boosts band moral and creates a fun environment for all.

Trust Me: What are the most important aspects of a great live performance for you?

Otello: Simple, the music. More over, that means the tone and quality your instruments are generating, how all the sounds are being mixing together and so on. Ambience is important, such as lighting, stage presences and even set list.

Trust Me: When are you guys going to finally print some t-shirts and how many are you going to donate to the site to give away??

Otello: We’re working on it; you can have as many as you like.

Thanks must go out to Bayan and Otello for taking time to do this interview if you'd like some more information, please check out their website at

Chris Elkjar -


"Future, Future" - to be released November 28, 2008

"A Blueprint for Modern Life" - released 07/11/2006

"2006 NXNE New Music Series Compilation - 'Are You With Me or Against Me'" - released 06/05/2006

"Still Life" EP (Kid Metropolis) - released 12/14/2004




Kid Metropolis is born again. The New Music breathes uncertainty and anticipation. We've laid down the blueprint for the future, (a future) that is transparent and hopeful. We awake with vengeance and desire flowing through our veins, Kid Metropolis is a Ying to your malevolent Yang! From the depths of merciless larceny and sleep-deprived nights – we're back to pound two-fisted justice into the hearts of evildoers everywhere. The road back to the glaring lights is a clearer one. Warm hands and tasteful footwear, a Kid Metropolis like no other.

Rarely does a band emerge from obscurity to make a lasting impression on a growing and loyal fan base; Kid Metropolis has accomplished just that. Over the last 5 years, Kid Metropolis has been hard at work creating a distinct sound - a sound that is described as accessible, yet tense; melancholic, yet uplifting. A Kid Metropolis live show is like no other: triumphant, with sonic interludes connecting each song to the next – and the result can be intoxicating. The band has performed at many venues around Toronto such as the Legendary Horseshoe Tavern, the Reverb and the Opera House. Kid Metropolis has also performed at the 2006 & 2007 NXNE Musical Festival, headlining a showcase at the Kathedral, and making an appearance on the NXNE compilation. Kid Metropolis has also enjoyed play on various college radio stations and was also featured on Y108 indie music show; Get Hammered!

Their debut album “A Blueprint for Modern Life”, produced by Ashton Price of Morph Productions (who has worked with Juno™ Nominee Kazzer), is equipped with landscapes of beautiful piano, multi-layered guitars and uplifting vocal melodies in combination with intricate track sequencing and vivid artwork tells its audience a much more profound story. The songs are abrupt but timeless; the production imaginary, allowing songs to breathe and be heard.

The much anticipated follow-up record titled “Future, Future” will be released in stores on November 28, 2008. Kid Metropolis has taken a more organic approach to this record; utilizing vintage equipment from the renowned “Chemical Sound Recording Studios” in Toronto and giving the new album a more ‘live’ feel to it. Kid Metropolis continues with their unorthodox approach to song-writing and arrangement, but it works. Time will only tell, though it seems as though Kid Metropolis is poised to elevate to the next level.