Tag: METZ Parasite

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.