Tag: Elsewhere Hall

Live Footage: METZ Performs “A Boat to Drown In” at Toronto’s The Opera House

Over the course of this site’s almost 11 year history — it turns 11 next week — i’ve spilled copious amounts of virtual ink covering Toronto-based punk trio and JOVM mainstays METZ. With the release of their third album, 2017’s Strange Peace, the trio — Alex Eadkins (vocals, guitar), Chris Slorach (bass) and Hayden Menzies (drums) —  pushed their songwriting in a new direction, as they crafted some of their most personal and politically charged work with the material capturing the anxiety, uncertainty, fear and outrage of the 2016 election cycle.

r themselves and for the album before they set to work on it: that they were going to make a much more patient and honest album, an album that invited repeated listens rather than a few exhilarating mosh-pit friendly bludgeonings. Co-produced by Uniform’s Ben Greenberg and mastered by Seth Manchester at Pawtucket’s Machines with Magnets, the album finds the band crafting music for the long haul, with the hopes that their work could serve as a constant as they navigated life’s trials and tribulations.r themselves and for the album before they set to work on it: that they were going to make a much more patient and honest album, an album that invited repeated listens rather than a few exhilarating mosh-pit friendly bludgeonings. Co-produced by Uniform’s Ben Greenberg and mastered by Seth Manchester at Pawtucket’s Machines with Magnets, the album finds the band crafting music for the long haul, with the hopes that their work could serve as a constant as they navigated life’s trials and tribulations.

hem attention and hearts across the world — but while arguably being their most articulate, earnest and dynamic of their growing catalog. Thematically, the album covers disparate yet very adult themes: paternity, crushing social anxiety, addiction, isolation, media-induced paranoia and the restless urge to just say “Fuck this!” and leave it all behind.  Much like its predecessor, Altas Vending offers a snapshot of the the modern condition as they see it; however, each of the album’s ten songs were written to form a musical and narrative whole with the album’s song sequencing following a cradle-to-grave trajectory. And as a result, the album’s material runs through the gamut of emotions — from the most rudimentary and simple of childhood to the increasingly nuanced and turbulent peaks and valleys of adulthood. So in some way, the album find the band tackling what’s inevitable for all of us — getting older, especially in an industry seemingly suspended in youth. “Change is inevitable if you’re lucky,” METZ’s Alex Eadkins says of the band’s fourth album Atlas Vending. “Our goal is to remain in flux, to grow in a natural and gradual way. We’ve always been wary to not overthink or intellectualize the music we love but also not satisfied until we’ve accomplished something that pushes us forward.”

, Atlas Vending closing track “A Boat to Drown In” was the album’s first official single and while continuing the band’s long-held reputation for crafting enormous, aural assaults centered around layers of distortion fueled powered chords, thunderous drumming, a mosh pit friendly hook and Eadkins urgent and howled vocals. But unlike their previously released material, “A Boat to Drown In” finds the band moving away from their grunge influences with their most expansive track to date, a track that finds them at their most oceanic. According to Eadkins, “A Boat to Drown in.” is “. . . about leaving a bad situation behind. About overcoming obstacles that once held you back, rising above and looking to a better future. The title refers to immersing yourself fully into what you love and using it as a sanctuary from negativity and a catalyst for change.”

Recently, the JOVM mainstays released a furious and urgent live version of “A Boat to Drown In” filmed as part of a live stream the band released last year at Toronto’s The Opera House that should serve as a reminder of their explosive live show — and of what many of us miss about live shows. Interestingly, with the release of the live footage, the members of METZ announced a co-headlining North American tour THIS fall with fellow JOVM mainstays Preoccupations. The tour will include two NYC area dates: December 9 at Elsewhere Hall and December 10 at Bowery Ballroom.

April and May 2022 sees the Canadians touring across the European Union.

“We are incredibly excited to be announcing a real in-person tour for later this year!” METZ’s Alex Eadkins says in press notes. “We cannot wait to share Atlas Vending with you and to reconnect with our musical friends and family worldwide.”

Toronto-based electronic act Holy Fuck — Brian Borcherdt, Graham Walsh, Matt McQuaid and Matt Schultz — have a long-held reputation for playing by their own rules, never being overly concerned about chasing the limelight or after genre-based trends. They’re also known for employing the use of instruments and non-instruments including a 35mm film synchronizer, toy keyboards and toy phaser guns to achieve electronic-sounding effects without the use of laptops, programmed backing tracks, splicing and so on.
Last year, I wrote about two singles off acclaimed electronic act’s soon-to-be released fifth album, Deleter:  “Luxe,” which managed to be both the first bit of new material from the act since the release of 2017’s Bird Brains EP. Clocking in a little over six minutes, the song can trace its origins back to a spontaneous encore jam at Luxembourg, Belgium. As the story goes, once they had the early elements of the track worked on in the studio, they sent it to to their good friend and casual musical mentor Kieran Hebden, best known as Four Tet, who picked the early version of “Luxe” as a standout. The Canadian quartet then invited Hot Chip’s Alexis Taylor to contribute vocals. Taylor not only jumped at the opportunity but went to Jack White‘s Third Man Studio in Nashville to record his vocals on White’s 1947 Voice-O-Graph.

“Among more literal translations, ‘Luxe’ is the short form of Luxembourg – the city in which the nexus of the song was created,” the members of Holy Fuck explain in an extensive statement. “On this particular night, during soundcheck, we had a pulsing minimal synth loop we’d been tinkering around with. (We were listening to lots of TRAX Records stuff on that tour.) We decided that if the crowd demanded an encore we’d go for it. ‘Luxe’ was the result. Or – as it was then called on the live recorded MP3 – ‘Luxembourg Encore’. Once home from tour we took all the live demos back to the drawing board. We shared everything with our friend Kieran Hedben aka Four Tet. His always-intuitive advice was that he heard a great club track in his ‘very favorite thing here’: ‘Luxembourg Encore’”.
The next moment of discovery came when Graham suggested the band scrap Brian’s vocals and give it to Alexis Taylor of Hot Chip. When we presented Alexis with the concept our reference notes to him, based around Brian’s temporary vocals, were ‘like an old sample you’d dig up off an old folk record… and approached more like a classic house track’. He responded, ‘We could try to record the vocal in a Voice O Graph booth (an obsolete 1940s coin operated phonograph booth) if we can access one…’. As far as we’re aware, there are only two in the world – one in Liverpool (that apparently doesn’t work anymore) and the other at Jack White’s Third Man studio in Nashville. And that is where Alexis sang ‘I’d like to scrap all of this and start over again.’ Fittingly, it was New Year’s Eve.”
Interestingly, “Luxe” serves as the first official single off the band’s soon-to-be released fifth album Deleter. Slated for release this Friday, the album’s material finds the Canadian electronic act pushing their sound in a very different direction — polyrhythmic and pleasure focused, the members of Holy Fuck mesh elements of krautrock and deep house with motorik percussion. Thematically, the album reportedly explores what happens when humanity and technology coalesce into one big, semi-organic celebration of the joys of spontaneity, repetition and individuality. As the band puts it, “the robots are smarter than ever, and the algorithm knows more and more what we like as individuals, but we have to remind ourselves that there is music in the margins that can go missing and that that music is more important than ever.”
Deleter‘s second single, the expansive, roughly six an da half minute “Free Gloss” was centered around a glistening synth-like arpeggio and atmospheric feedback, a sinuous bass line, a motorik groove, and plaintive and ethereal vocals from POND‘s Nicholas Albrook. And much like its predecessor, the album’s second single wound up being a seamless synthesis of hypnotic and driving pulsation, ethereal atmospherics and dance floor friendly thump. “Deleters,” the album’s third single and sort of album title track continues a run of motorik groove-led, euphoric club bangers centered around thumping four-on-the-floor, retro-futuristic-like sounds, a propulsive bass line and guest spot from Liars’ Angus Andrew, who contributes backing vocals.  “The song ‘Deleters,’” write Holy Fuck, “started at a party in the woods of rural Quebec. Set up on the forest floor, literally over moss covered tree roots we decided to make up a new hour-long improvised set in front of a crowd of people dancing amongst the trees. From that session two songs emerged and found their way onto the new record. This is the first time we selected a song from the record to also be a title track — but there really isn’t a reason for it other than we thought it sounded cool, like a modern version of Fugazi‘s Repeater or Depeche Mode‘s Violator (or even KissDestroyer, though in name only). Our friend Angus from Liars doubles Brian’s vocals giving the track a nice punch.”
The act will be embarking on a roughly two month North American, UK and European Union tour to support Deleter. The band recently added a handful of East Coast and Canadian tour dates. The added tour dates include a June 12, 2020 stop at Elsewhere Hall.
Check out the tour dates below.
Tour Dates:
Holy Fuck Tour Dates:
03/23/20 – Phoenix, AZ @ Valley Bar
02/24/20 – San Diego, CA @ Casbah
03/25/20 – Santa Ana, CA @ Constellation Room
03/27/20 – Los Angeles, CA @ El Rey Theatre
03/28/20 – San Francisco, CA @ Slim’s
03/30/20 – Portland, OR @ Lola’s Room
03/31/20 – Seattle, WA @ Nuemos
04/01/20 – Vancouver, BC @ Fortune Sound Club
04/03/20 – Calgary, AB @ Broken City
04/04/20 – Saskatoon, SK @ Amigo’s Cantina
04/06/20 – St. Paul, MN @ Turf Club
04/07/20 – Chicago, IL @ Lincoln Hall
04/24/20 – Antwerp, BE @ Trix
04/25/20 – Luxembourg @ Out of The Crowd Festival
04/27/20 – Birmingham, UK @ The Hare & Hounds
04/28/20 – Brighton, UK @ Chalk
04/29/20 – Cardiff, UK @ Clwb lfor Bach
04/30/20 – Manchester, UK @ Yes (basement)
05/03/20 – Glasgow, UK @ Slag & Dagger Festival
05/05/20 – Barcelona, ES @ La Nau
05/06/20 – Oviedo, ES @ La Lata de Zinc
05/07/20 – Vigo, ES @ Radar Estudios
05/09/20 – Valencia, ES @ La Pérgola
05/23/20 – London, UK @ All Points East
06/09/20 – Washington, DC @ Rock and Roll Hotel
06/10/20 – Philadelphia, PA @ Boot & Saddle
06/12/20 – Brooklyn, NY @ ELSEWHERE: Hall
06/13/20 – Boston, MA @ Brighton Music Hall
06/15/20 – Montréal, QC @ Bar Le Ritz PDB
06/17/20 – Ottawa, ON @ Bronson Centre
06/19/20 – Toronto, ON @ Lee’s Palace