TUESDAY SEP 05, 2017
Metz
“Since releasing their self-titled debut record in 2012, which The New Yorker called, “One of the year’s best albums…a punishing, noisy, exhilarating thing,” the Toronto-based 3-piece METZ have garnered international acclaim as one of the most electrifying and forceful live acts, touring widely and extensively, playing hundreds of shows each year around the world. Now, Alex Edkins (guitar, vocals), along with Hayden Menzies (drums), and Chris Slorach (bass) are set to unleash their highly-anticipated third full-length album, Strange Peace, an emphatic but artful hammer swing to the status quo. “The best punk isn’t an assault as much as it’s a challenge — to what’s normal, to what’s comfortable, or simply to what’s expected. Teetering on the edge of perpetual implosion,” NPR wrote in their glowing review of METZ’s 2015 second album, II. Strange Peace was recorded in Chicago, live off the floor to tape with Steve Albini. The result is a distinct artistic maturation into new and alarming territory, frantically pushing past where the band has gone before, while capturing the notorious intensity of their live show. “Recording in Chicago was a blast. We tracked fourteen songs in four days. It was the first time we felt confident enough to just play live and roll tape,” Edkins said of the recording process. “Strange Peace is much more diverse and varied than anything we’ve done before, which was exhilarating, but terrifying, too. We took the tapes home to Toronto feeling like we’d made the record we wanted to make.” The trio continued to assemble the album (including home recordings, additional instrumentation) back in their hometown, adding the finishing touches with longtime collaborator, engineer and mixer, Graham Walsh. From the ferocious opening track, “Mess of Wires,” we’re met by the sheer force and fierce musicianship we’ve come to expect from METZ. With the unhinged, post-punk fragments of “Drained Lake,” and the whirling, acerbic pop features of “Cellophane,” the band’s hectic progression becomes clear. But Strange Peace isn’t merely a collection of eleven uninhibited and urgent songs. It’s also a kind of sonic venting, a truculent social commentary that bludgeons and provokes, excites and unsettles. “The songs on Strange Peace are about uncertainty,” Edkins explains. “They’re about recognizing that we’re not always in control of our own fate, and about admitting our mistakes and fears. They’re about finding some semblance of peace within the chaos.” With all the pleasurable tension and anxiety of a fever dream, Strange Peace is equal parts challenging and accessible. It is this implausible balancing act, moving from one end of the musical spectrum to the other, that only a band of METZ’s power and capacity can maintain: discordant and melodic, powerful and controlled, meticulous and instinctive, subtle and complex, precise and reckless, wholehearted and merciless, brutal and optimistic, terrifying and fun. “Their whiplash of distortion is made with precision, a contained chaos. But you would never talk about them like that. Because METZ are not something you study or analyze,” wrote Liisa Ladouceur in Exclaim! “They are something you feel: a transfer of energy, pure and simple.” In other words: to feel something, fiercely and intensely, but together, not alone.”
“Since releasing their self-titled debut record in 2012, which The New Yorker called, “One of the year’s best albums…a punishing, noisy, exhilarating thing,” the Toronto-based 3-piece METZ have garnered international acclaim as one of the most electrifying and forceful live acts, touring widely and extensively, playing hundreds of shows each year around the world. Now, Alex Edkins (guitar, vocals), along with Hayden Menzies (drums), and Chris Slorach (bass) are set to unleash their highly-anticipated third full-length album, Strange Peace, an emphatic but artful hammer swing to the status quo. “The best punk isn’t an assault as much as it’s a challenge — to what’s normal, to what’s comfortable, or simply to what’s expected. Teetering on the edge of perpetual implosion,” NPR wrote in their glowing review of METZ’s 2015 second album, II. Strange Peace was recorded in Chicago, live off the floor to tape with Steve Albini. The result is a distinct artistic maturation into new and alarming territory, frantically pushing past where the band has gone before, while capturing the notorious intensity of their live show. “Recording in Chicago was a blast. We tracked fourteen songs in four days. It was the first time we felt confident enough to just play live and roll tape,” Edkins said of the recording process. “Strange Peace is much more diverse and varied than anything we’ve done before, which was exhilarating, but terrifying, too. We took the tapes home to Toronto feeling like we’d made the record we wanted to make.” The trio continued to assemble the album (including home recordings, additional instrumentation) back in their hometown, adding the finishing touches with longtime collaborator, engineer and mixer, Graham Walsh. From the ferocious opening track, “Mess of Wires,” we’re met by the sheer force and fierce musicianship we’ve come to expect from METZ. With the unhinged, post-punk fragments of “Drained Lake,” and the whirling, acerbic pop features of “Cellophane,” the band’s hectic progression becomes clear. But Strange Peace isn’t merely a collection of eleven uninhibited and urgent songs. It’s also a kind of sonic venting, a truculent social commentary that bludgeons and provokes, excites and unsettles. “The songs on Strange Peace are about uncertainty,” Edkins explains. “They’re about recognizing that we’re not always in control of our own fate, and about admitting our mistakes and fears. They’re about finding some semblance of peace within the chaos.” With all the pleasurable tension and anxiety of a fever dream, Strange Peace is equal parts challenging and accessible. It is this implausible balancing act, moving from one end of the musical spectrum to the other, that only a band of METZ’s power and capacity can maintain: discordant and melodic, powerful and controlled, meticulous and instinctive, subtle and complex, precise and reckless, wholehearted and merciless, brutal and optimistic, terrifying and fun. “Their whiplash of distortion is made with precision, a contained chaos. But you would never talk about them like that. Because METZ are not something you study or analyze,” wrote Liisa Ladouceur in Exclaim! “They are something you feel: a transfer of energy, pure and simple.” In other words: to feel something, fiercely and intensely, but together, not alone.”
Death Stuff
"If you have the opportunity to see Death Stuff live you’ll likely see some familiar faces. Consisting of former members of Lucy Dreams, Street Violence, and Twin Studies, the emerging trio is punk and noisy as hell, delivering snarling tunes with plenty of bite on both their five-track demo and the single they released earlier this year. Although the group has hints of math rock and copious amounts of feedback striding above their angular riffs, they expertly tie all of it together into catchy, compact screeds that are both dark and frenzied. With their self-titled debut due out February 10, Death Stuff will be a force to be reckoned with in 2017." –Immersive Atlanta
"If you have the opportunity to see Death Stuff live you’ll likely see some familiar faces. Consisting of former members of Lucy Dreams, Street Violence, and Twin Studies, the emerging trio is punk and noisy as hell, delivering snarling tunes with plenty of bite on both their five-track demo and the single they released earlier this year. Although the group has hints of math rock and copious amounts of feedback striding above their angular riffs, they expertly tie all of it together into catchy, compact screeds that are both dark and frenzied. With their self-titled debut due out February 10, Death Stuff will be a force to be reckoned with in 2017." –Immersive Atlanta
Motherfucker
"The only introduction Motherfucker (Athens, GA) and their album Confetti need is the kind that includes access to your stereo and roughly half an hour of your time. Forget the headphones. Don't bother to roll the windows down. Leave the doors wide open. They formed initially as a scheme to play a local festival with the concept of an unknown and outrageously confident band that would only play once. So, claiming the wildly abrasive name, Erika Rickson (drums), Erica Strout (guitar), and Mandy Branch (bass) quickly assembled a set of what they called “punch-in-the-air” rock. Then, after that initial audience was fully whelmed and subsequent bookings came at a ridiculously frenzied pace, they went whole hog into owning it fully. And good thing for us they did because it's a damn rare thing these days for a band to have a name on the outside of a record that equals the shock and awe of what's inside. Although Confetti certainly has that new record smell to it, it's still a slippery thing. Try to pin it to a hardcore tradition and you'll fail instantly. Neither is it nailed to the surly Chicago school of 1990s rock to which the band has been compared so many times. What's ultimately distilled here is the work of three individuals who have sweated through multiple bands over the last 15 years until they finally got fed up to the point of blast time."
"The only introduction Motherfucker (Athens, GA) and their album Confetti need is the kind that includes access to your stereo and roughly half an hour of your time. Forget the headphones. Don't bother to roll the windows down. Leave the doors wide open. They formed initially as a scheme to play a local festival with the concept of an unknown and outrageously confident band that would only play once. So, claiming the wildly abrasive name, Erika Rickson (drums), Erica Strout (guitar), and Mandy Branch (bass) quickly assembled a set of what they called “punch-in-the-air” rock. Then, after that initial audience was fully whelmed and subsequent bookings came at a ridiculously frenzied pace, they went whole hog into owning it fully. And good thing for us they did because it's a damn rare thing these days for a band to have a name on the outside of a record that equals the shock and awe of what's inside. Although Confetti certainly has that new record smell to it, it's still a slippery thing. Try to pin it to a hardcore tradition and you'll fail instantly. Neither is it nailed to the surly Chicago school of 1990s rock to which the band has been compared so many times. What's ultimately distilled here is the work of three individuals who have sweated through multiple bands over the last 15 years until they finally got fed up to the point of blast time."
Vincas
Athens, Georgia is rich with an ever-evolving and burgeoning undeground music scene and the self released "Blood Bleeds" LP by Vincas is further proof of the stellar things happening in the American South. Vincas deal in scuzzed out psychedelic punk fireballs in the broad shouldered tradition of The Scientists, The Gun Club and the art damaged frenzied space rock of The Telescopes and High Rise. They've upped the feedback squalor, infused a hefty rhythmic pulse with a muscular dexterity and topped it off with an Alan Vega snarl. "Blood Bleeds" rams full speed ahead with a surly debauched swamp-groove psych-raunch that is always welcome to our ears." - Permanent Records
Athens, Georgia is rich with an ever-evolving and burgeoning undeground music scene and the self released "Blood Bleeds" LP by Vincas is further proof of the stellar things happening in the American South. Vincas deal in scuzzed out psychedelic punk fireballs in the broad shouldered tradition of The Scientists, The Gun Club and the art damaged frenzied space rock of The Telescopes and High Rise. They've upped the feedback squalor, infused a hefty rhythmic pulse with a muscular dexterity and topped it off with an Alan Vega snarl. "Blood Bleeds" rams full speed ahead with a surly debauched swamp-groove psych-raunch that is always welcome to our ears." - Permanent Records