I think it had to do a little bit with the idea of escaping from what sometimes feels like a very narrow definition of my identity. On "Perfect on the Surface" and "Minefield of Memory" in particular, I got closer to achieving a sonic portrait of who I am, instead of just a snapshot. But in those settings some of the nuance automatically has to go, which is ok, because when the sound and the emotion are loud and strong and clear, it energizes people, and that's a big part of what Metric does and I love it.
With Choir of the Mind , I felt like exploring other sonics, broadening the scope of who I am, without having to adapt the work to fit that massive scale. Not to prove anything to anybody else, but just to find out for myself. How much do you think the other songs reflect that theme of identity? Maybe other people, as artists, as humans just navigating their lives, maybe they approach things completely differently.
Maybe people know what they're doing and exactly why they do it, but I have never been able to function that way. Do you feel that same impulse on your own, to be part of something bigger? But both with Metric and on my own, I'm coming at it from a point of view that opposes the norm. I think it's stupid the way we reward vanity and greed, the way we crown famous people, perpetuate the same old social hierarchies.
I tried to convey this on "Statuette", how our arts and culture are really based around this idolatry of specialness. I have no desire to be special. It's isolating and lonely. I want it to be that even the most unique experience and personal high or low that I can get to unites me with everybody else, gets me closer to other people, not further away.
So, were there things you wrote about on Choir of the Mind that were hard to reveal? Hard to reveal to myself. To that extent, the whole process is hard, if you can say that about the unbelievable luck of being able to be an artist for a living. I have gratitude forever that this is the life that I have. But yeah, it can get murky. What prompted the spoken-word part of the title track? I was born in India, in New Delhi. My mom had started a school there, my dad was writing the lyrics to Carla Bley's album Escalator Over the Hill.
One day, my mom embarked on a kind of spiritual journey to this utopian outpost, Auroville that was created by a spiritual leader called Sri Aurobindo. Cut to many years later, here I am making this record, and I had this idea that I wanted there to be something spoken. What about that passage spoke to you? The way Aurobindo expressed it blew my mind. I had to adapt the text slightly to fit in the song rhythmically, but really it was all there just waiting to be said and heard.
I'm so grateful to have stumbled upon such brilliant work, and the circumstances that led to it even being in my possession, it's like that book connects me all the way back to when I was born. This idea of the feminine life force, a kind of robust softness, seems like a recurring theme on the album. I never got jaded, I never got cold. If I start to feel that softness retreat, I force myself to go back in and open it back up. She kept writing songs throughout, but didn't really start working on another solo record until , when she began work in earnest at Metric's Giant Studio.
With Haines playing a piano from , help from Shaw on guitar and other instruments, and Scott Minor on occasional drums, the songs for her second record came together quickly. The resulting Choir of the Mind was a lush, keyboard-driven album that found Haines exploring politics and faith, while never straying to far from a pop hook. The record was issued by Last Gang in September of Metric frontwoman Emily Haines received a fair amount of critical acclaim after the release of her solo debut, Knives Don't Have Your Back, in wh Emily Haines is so thoroughly the public face of the dance-happy neo-wavers Metric that the idea of a solo album seems redundant at first.
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