(2003), "Live It Out" (2005), "Grow Up and Blow Away" (2007, but recorded in 2001), "Fantasies" (2009), "Synthetica" (2012), "Pagans in Vegas" (2015), and "Art of Doubt" (2018). During her time in Metric, Haines also contributed vocals or backing vocals to songs by Broken Social Scene, Jason Collett, Stars, Delerium, K-Os, KC Accidental, The Stills, Tiësto, The Crystal Method and Todor Kobakov. In 2004, Metric appeared in the 2004 drama film "Clean". Haines and the rest of the band, appearing as themselves, performed their song "Dead Disco" and completed minor speaking roles in a backstage scene. "Dead Disco" also featured on "Clean Original Soundtrack". In 2006, Haines released the studio album "Knives Don't Have Your Back", under the moniker "Emily Haines & The Soft Skeleton". The songs "Our Hell" and "Doctor Blind" were issued as singles and corresponding music videos were produced. "Knives Don't Have Your Back" was followed in 2007 by the EP "What Is Free to a Good Home?"—recordings that were inspired by the death of her father. I found myself with a body of work that was dealing with a whole whack of themes that really weren't suited to Metric. It would've been very strange to bring those songs to a band. The way Metric songs usually develop is that I write something on the piano that sounds a lot like those songs. Her solo work is typically more subdued and piano-based than her work with Metric. She occasionally plays solo shows, with Amy Millan featured as the opening act. According to Haines, the album "Synthetica" is "about forcing yourself to confront what you see in the mirror when you finally stand still long enough to catch a reflection. "Synthetica" is about being able to identify the original in a long line of reproductions. It's about what is real vs what is artificial." The album contains the song "The Wanderlust", Haines's collaboration with Lou Reed. In an August 2013 interview, Haines reflected on the early years of her musical career in relation to the success of Metric in 2013: There are a million things that I could have done that would have made it less difficult in the beginning, but the moments I'm most proud of are those first shows where we managed to get 15 people in a random bar to be committed to what's happening with the music.