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The best kept secret in music


"Tons of additional reviews on our website"

Please visit: - Metropolitan

""The Lines They Get Broken""

Arlington modal-rock trio Metropolitan doesn't do anything very different on its third album, "The Lines They Get Broken" -- it just does it bigger.

With the help of co-producers Archie Moore and Jason Caddell, and what sounds like more overdubbing than in the past, the band has crafted a denser, more immediate sound. While the back-and-forth interplay between singer John Masters's noisy guitar and Shyam Telikicherla's agile, wide-ranging bass is still central to the threesome's style, the music's overall motion is more direct. There's even one song, "Made the Cut," that rides a bluesy shuffle.

"Is It Too Loud?" asks one tune, and this album does feel, if not actually sound, more boisterous. This time out, Metropolitan skips the brief instrumentals of previous CDs and reduces its music's worldly influences. Drummer Saadat Awan plays tabla, notably on "Pakistan International," but mostly his kit drives such emphatic rockers as "Homeroom" and Headway." The latter name is so apt it could be the album's alternate title.

-- Mark Jenkins, April 2005 - Mark Jenkins, The Washington Post

"D.C. punk going lo-fi"

"The Lines They Get Broken"
(Crank Automotive)
Sounds like: D.C. punk going lo-fi.


What is it about pure pop songs lathered with heavy distortion and outdated microphones that make them appeal to college kids more than the same tune recorded with a piano and acoustic guitar? Whether it's finding beauty and warmth in fundamentally cold sounds or the hint of elitism knowing most people would instantly dismiss it, the trend made famous by lo-fi heroes such as Guided By Voices, Pavement and Archers of Loaf doesn't seem to be fading any time soon. Metropolitan's third full length, "The Lines They Get Broken," however, proves that may not be such a bad thing.

The Washington, D.C. trio has thrown themselves full force behind their pop hooks and "The Lines They Get Broken" plays with an almost adolescent energy. It's less abrasive than some of D.C.'s other well known names, like Fugazi and the Dismemberment Plan, but their influence makes itself clear immediately. John Masters, lead singer and guitar player, has a knack for simple vocal hooks, happily yelping over the fuzz.

When not opting for unnecessary and ultimately boring sonic feedback experiments, songs build nicely on fun chord progressions without feeling dumbed-down. The clear standout is "Letterbox," a bouncy lo-fi equivalent of Harvey Danger's "Flagpole Sitta" (admit it, you still love this song). All tracks, however, have their own specific charms, including the phenomenally catchy closer, "Made the Cut."

- DAN POTOCKI - American University Eagle


Side Effects CD 1999
Down For You Is Up CD 2002
The Lines They Get Broken 2005


Feeling a bit camera shy


Metropolitan began as a collaboration between guitarists John Masters and Aidan Coughlan in late 1998, and they recorded and released their debut record, "Side Effects," in 1999.

After undergoing several lineup changes since the group's incarnation, Metropolitan is now a solid trio. John, Shyam and Saadat played their first gig together in January of 2001, and since then have shared the stage with numerous groups across numerous states, including the Dismemberment Plan, the Brian Jonestown Massacre, Bardo Pond, Tristeza, Gogogo Airheart, Wolf Colonel, The Bravery, The Rosebuds, The Shout Out Louds, and Bis.

The current Metropolitan lineup released their second full length album, "Down For You Is Up," in March of 2002. The album was recorded at Inner Ear Studios in Arlington VA and produced by Chad Clark (Dismemberment Plan, Fugazi, Beauty Pill).

The third full-length, "The Lines They Get Broken," was released in 2005. It was produced by Archie Moore (Velocity Girl) and Jason Caddell (Dismemberment Plan).

Also in that year, Miguel Lacsamana joined the group, adding additional guitar and keyboard talent to fill out the live sound.