Tag: METZ A Boat to Drown In

Live Footage: METZ Live on KEXP — At Home

With the release of their first three albums, the Toronto-based punk trio and JOVM mainstays METZ developed a reputation for thriving on an abrasive restlessness. However, before they set to work on their fourth and latest album, last year’s Atlas Vending, the Canadian punk rockers — Alex Edkins (guitar, vocals). Chris Slorach (bass) and Hayden Menzies (drums) — set a goal for themselves and the album: they intended to make a much more patient and honest album, an album that invited repeated listens rather than a few exhilarating, most-pit friendly bludgeonings.

Co-produced by Uniform’s Ben Greenberg and mastered by Seth Manchester at Pawtucket’s Machines with Magnets, Atlas Vending sees the band attempting to craft music for the long haul, and with the hopes that their work could serve as a constant, as they — and of course, the listener — navigated through life’s trails and tribulations. The end result is an album’s worth of material that retains the massive sound that has won them attention and hearts across the world, but while arguably being among their most articulate, earnest and dynamic of their catalog and careers.

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. Interestingly enough, much like its immediate predecessor, Atlas Vending offers a snapshot of the modern condition as the band sees it; but unlike any of their previously released work, the album’s 10 songs were specifically written to form a musical and narrative arc with the album’s songs and sequencing following a cradle-to-grave trajectory.

As a result of the album’s cradle-to-grave narrative arc, the album’s material runs through a gamut of moods and emotional states, starting off with the most rudimentary and simplistic sensations of childhood, all the way to the increasingly nuanced and turbulent peaks and valleys of adulthood. There’s also a bit of subtext to the proceedings: getting older in an industry seemingly suspended in perpetual 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.”

Over the course of last year, I wrote about six off the album’s released singles:

Album closing track “A Boat to Drown In,” which may be the most expansive and oceanic tracks of their entire catalog.
“Hail Taxi,” an explosive and deceptively prototypical METZ track that’s centered a narrator, who desperately attempts to reconcile who they once were with what they’ve become.
“Blind Industrial Park,” a rapturous and euphoric ripper that’s an ode to the naivete of youth and the blissful freedom of being unburdened by the world surrounding you.
“Parasite,” a frenetic and pummeling ripper that they filmed at The Opera House in Toronto.
“Pulse,” a furious roar, full of the anxious and uncertain dread that was familiar to daily life during the Trump Administration.
“Framed by the Comet’s Tail,” Atlas Vending’s most punk-like song, centered around the bitter recrimination and heartache of betrayal and the desperate desire to just say “Fuck all of this!” and start over.

The JOVM mainstays closed out 2020 with an explosive live session for KEXP that they recorded at Palace Sound, which features a handful of the album’s singles performed live. KEXP recently released the video — and it makes me miss live shows immensely. I suspect it’ll make you miss live shows, too.

New Video: JOVM Mainstays METZ Take the Viewer on a Nightmarishly Sisyphean Journey

I’ve managed to spill quite a bit of virtual ink covering the Toronto-based punk trio and JOVM mainstays METZ throughout this site’s decade of existence. Atlas Vending, the JOVM mainstays’ fourth album was released earlier this month through their longtime label home Sub Pop Records.

The band’s three previously released album found the band thriving on an abrasive restlessness, but before they set to work on Atlas Vending, the Canadian punk trio set a goal for themselves and for the album: they intended 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 (and the listener) navigated life’s trials and tribulations.

The end result is an album that retains the massive sound that has won them 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 immediate 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.

Because of the cradle-to-grave narrative arch, the album’s material runs through a gamut of emotions and emotional states, starting off with the most rudimentary and simplistic sensations of childhood all the way to the increasingly nuanced and turbulent peaks and valleys of adulthood. Of course, as a result, the album finds the band tackling the inevitable — getting older in an industry seemingly suspending in perpetual 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.”

So far I’ve written about four of the album’s released singles:

The album’s first single, album closing track “A Boat to Drown In,” which may be the most expansive and oceanic tracks of their entire catalog.
“Hail Taxi,” an explosive and deceptively prototypical METZ track that’s centered around a deeply adult sense of regret, as the song features a narrator, who desperately attempts to reconcile who they once were with what they’ve become;
“Blind Industrial Park,” a rapturous and euphoric ripper that’s an ode to the naivete of youth and the blissful freedom of being unburdened by the world surrounding you.
“Parasite,” a frenetic and pummeling ripper that they filmed at The Opera House in Toronto.

“Pulse,” Atlas Vending’s latest single is a furious roar, full of the sort of anxious and uncertain dread that has become our daily lives during the Trump Administration — and in the last few of days before a momentous, history altering election. Our lives at this very moment is desperate and urgent; we all feel this and know this, even if we are loathe to admit it.

Directed by Jeremy Gillespie, the recently released and murkily shot visual for “Pulse” follows a space suit wearing astronaut on a nightmarishly Sisphyean journey through a Brutalist world fitting the pummeling and forceful soundtrack.

Live Footage: METZ Perform “Parasite” at The Opera House Toronto

Throughout the course of this site’s 10-plus year history, I’ve spilled a lot of virtual ink covering the Toronto-based punk trio and JOVM mainstays METZ. And as you may recall,. the act’s fourth album, Atlas Vending was released last week through their longtime label home Sub Pop Records.

Their previously released material found the band thriving on an abrasive relentlessness but before they set to work on Atlas Vending, the Canadian punk trio set a goal for themselves and for the album — 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 (and the listener) navigated life’s trials and tribulations.

The end result is an album’s worth of material that retains the massive sound that has won them 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 immediate 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.

Naturally, the album’s material runs through the gamut of emotions — from the most rudimentary and simplistic sensations of childhood to the increasingly nuanced and turbulent peaks and valleys of adulthood. And in some way, the album finds the band tackling the inevitable — getting older, especially in an industry seemingly suspended in perpetual 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.”

I’ve written about three of the album’s singles so far: the album’s first single, album closing track “A Boat to Drown In,” one of the most expansive and oceanic tracks of their catalog; “Hail Taxi,” an explosive and deceptively prototypical METZ track that’s centered around a deeply adult sense of regret, as the song features a narrator, who desperately attempts to reconcile who they once were with what they’ve become; and “Blind Industrial Park,” a rapturous and euphoric METZ-styled ripper that’s actually an ode to the naivete of youth and the blissful freedom of being unbranded by the world surrounding you.

To celebrate the release of Atlas Vending METZ played a special livestream at The Opera House in Toronto. Last night’s set found them playing Atlas Vending in its entirely with an encore that featured fan favorites ‘Negative Space” and “Wet Blanket” off their self-titled, full=length debut.. The band released a frenetically shot live footage of pummeling new ripper “Parasite.”

You can still get tickets for the live stream of night 2 at The Opera House, which will air at 3PM ET, Noon PT, 8PM BST, 9PM CEST, 8PM AEST. Tickets available here: tickets.

New Video: JOVM Mainstays METZ Release a Cinematic and Epic Visual for Euphoric Single “Blind Youth Industrial Park”

Throughout the course of this site’s 10-plus year history, I’ve spilled a lot of virtual ink covering the Toronto-based punk trio and JOVM mainstays METZ. Now, if you’ve been frequenting this site over the last couple of months, you might recall that he longtime JOVM mainstays fourth album Atlas Vending is slated for an October 9, 2020 release through their longtime label home Sub Pop Records.

Their previously released material found the band thriving on an abrasive relentlessness but before they set to work on Atlas Vending, the Canadian punk trio set a goal for themselves and for the album — 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 (and the listener) navigated life’s trials and tribulations.

Reportedly, the end result is an album’s worth of material that retains the massive sound that has won them 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 immediate 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.

Naturally, the album’s material runs through the gamut of emotions — from the most rudimentary and simplistic sensations of childhood to the increasingly nuanced and turbulent peaks and valleys of adulthood. And in some way, the album finds the back taking what’s inevitable for all of guys — getting older, especially in an industry seemingly suspended in perpetual 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.”

As it turns out, METZ’s currently mission is to faithfully mirror the inevitably painful struggles of adulthood while tapping into the conflicting relationship between rebellion and revelry — particular in a period of profound and seemingly unending bleakness. I’ve written about two of the album’s singles so far: “A Boat to Drown In,” the album closing track, which finds the band moving away from their long-held grunge influences and crafting one of the most expansive, oceanic tracks of their catalog — and “Hail Taxi,” a deceptive return to form centered around an aching and deeply adult sense of regret, as the song features a narrator, who attempts to reconcile who they once were and who they’ve become.

“Blind Youth Industrial Park,” Atlas Vending’s third and latest single is a rapturous and euphoric ripper done in true METZ style — enormous, rousingly anthemic hooks, Eadkins urgently howled vocals, pummeling drumming and towering feedback drenched power chords. But at its core, the song is an ode to the naivety of youth and the blissful freedom of being unburdened by the world around you with a novelist’s attention to psychological detail.

Directed by Dylan Pharazyn, the recently released and cinematically shot visual for “Blind Youth Industrial Park” was shot in Queenstown, New Zealand as is set in a dystopian and futuristic planet with futuristic technology that may be derived from aliens. We follow the videos protagonist Ayeth on a nomadic walk through an epic landscape with a severely wounded companion. The video’s protagonists are followed by an armed militia. “I started thinking of the feeling of war or samurai films, beautiful but dark and violent… but then I had this idea to work up a more unique world… I started to think of a more futuristic setting — more unusual and dream-like with the story set on a distant planet where there is future technology and some kind of alien magic… like a futuristic fable,” Pharazyn says of the new video. “I loved the idea of the hero Ayeth on this nomadic walk through an epic landscape… I loved the strength in her and the pairing of her with a wounded companion, something really human and vulnerable… I wanted that emotive warmth countering the cold military images.”

New Video: JOVM Mainstays METZ Return with a Pummeling Meditation on Compromise and Adulthood

Over the course of this site’s 10 year history, I’ve managed to spill copious amounts of virtual ink covering Toronto-based punk trio and JOVM mainstays METZ. The JOVM mainstays fourth album Atlas Vending is slated for an October 9, 2020 release through their longtime label home Sub Pop Records. Their previously released material found the band thriving on an abrasive relentlessness but before they set to work on Atlas Vending‘s material, the Canadian punk trio set a goal for themselves and for the album — 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 (and the listener) navigated life’s trials and tribulations.

The end result is an album that reportedly retains the massive sound that has won them 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.”

So yes, their current mission is to mirror the inevitably painful struggles of adulthood while tapping into the conflicting relationship between rebellion and revelry — particularly in a period of seemingly profound and unending bleakness. Last month, I wrote about album closing track and first single “A Boat to Drown In.” And while continuing the band’s long-held reputation for crafting enormous and punishing aural assaults centered round layers of distortion fueled power chords, thunderous drumming and mosh pit-friendly hooks, the song finds them moving away from their grunge inferences and creating one of the most expansive, oceanic tracks they’ve released to date. 

Interestingly, the album’s second and latest single “Hail Taxi” is a deceptive return to form. Yes, it’s an enormous and urgent mosh pit friendly ripper, full of rousingly anthemic hooks, thunderous drumming and Eadkin’s howled vocals  — but at its core, the song is full of a aching and deeply adult sense of regret, as the song’s narrator attempt to reconcile who they once were and who they’ve become. After all, being an adult often means making uneasy and uncomfortable compromises; the sort of compromises that an idealistic younger version of you would likely hate and have little empathy for.  The end result is a howl of desperation, frustration and fury for what once was and what has to be right now — and for when things seemed simpler. 

Directed by A.F. Cortes, the recently released video for “Hail Taxi” was shot in a highly symbolic and cinematic black and white. The video captures and further emphasizes the song’s intensity in its pummeling choruses as we see a woman struggling to keep afloat in the open sea — and her brooding on a rowboat full of trash on the song’s verses. “I wanted to tell a simple story that captures the song’s overarching theme,” A.F. Cortes says of the video. “The idea of longing for the past creates many visual motifs and I wanted to create a piece that feels timeless and conveys a sense of isolation, highlighting that while we can hide our feelings, we can’t run from them.”

New Video: JOVM Mainstays METZ Releases an Explosive Meditation on Life. Loneliness, Delusion, and Death

Throughout the bulk of this site’s 10 year history, I’ve spilled quite a bit 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. 

Last year, the JOVM mainstays released Automat, a collection of METZ’s non-album singles, B-sides and rarities dating back to 2009 on vinyl for the first time — including, the band’s long out-of-print (pre-Sub Pop) recordings. Essentially, the album was designed as chronological trip of the acclaimed Canadian act’s lesser-known material that included a bonus 7 inch single, which featured three covers: a cover of Sparklehorse’s “Pig” off a very limited 2012 Record Store Day split single, originally released by Toronto-based record store, Sonic Boom; a cover of The Urinals‘ “I’m a Bug” originally released on YouTube in 2014; and lastly, a previously unreleased, explosive  cover of Gary Numan’s “M.E.” 

The JOVM mainstays fourth album Atlas Vending is slated for an October 9, 2020 release through their longtime label home Sub Pop Records. Their previously released material found the band thriving on an abrasive relentlessness but before they set to work on Atlas Vending’s material, the Canadian punk trio set a goal for themselves and for the album — 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 Greennberg 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. 

The end result is an album that reportedly retains the massive sound that has won them 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.” 

Interestingly, Atlas Vending closing track “A Boat to Drown In” is the album’s first 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.”

Directed by Tony Wolski, the incredibly cinematic visual for “A Boat to Drown In” follows a painfully lonely and isolated young woman’s slow-burning descent into delusion, — including a passionate affair  with an enormous (and frisky) teddy bear that we discover never existed. Eventually we pull out and see this woman turn from being emotionally broken to numb and devoid of feeling,. “The song has a beautiful, crushing numbness to it that we wanted to mirror in the visual,” Tony Wolski explains. “So we chose to romanticize our main character’s descent into her delusions of love and togetherness. At a time when everyone’s simultaneously coping with some sort of isolation, a story about loneliness—and the mania that comes with it—seems appropriate to tell.”