Tag: Sub Pop Records

Live Footage: METZ Performs “Pulse” Live at Toronto’s Opera House

Throughout the course of this site’s 11 year history, I’ve spilled copious amount of virtual ink covering Toronto-based punk trio and JOVM mainstays METZ. The JOVM mainstays’ fourth album, last year’s Atlas Vending found the band setting a goal for themselves and for the album before they set to work on it: they wanted 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 sees the band attempting to intentionally craft music for the long haul, with the hopes that their work could serve as a constant as they — and their fans — navigated through life’s trials, tribulations and victories.

Sonically, Atlas Vending sees the band retaining the massive sound that has won them attention and fans across the world — but while arguably being their most articulate, earnest and dynamic of their growing catalog. Thematically, the album touches upon disparate yet very adult themes: paternity, crushing social anxiety, addiction, isolation, media-inducing paranoia and the restless urge to stop everything and 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, what makes Atlas Vending different is that each of its ten songs were written to form musical and narrative whole with the album’s songs following a cradle-to-grave trajectory.

As a result, the album’s material emotionally runs through a gamut of emotions — from the most rudimentary and simple of adulthood to the increasingly nuanced and turbulent peaks and valleys of adulthood. So in some way, the album finds the band tackling what’s inevitable for all of us: getting older, especially in an industry 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.”

METZ have developed and furthered a reputation as purveyors of abrasive melodicism and one of the planet’s most bombastic, contemporary live acts through relentless touring across the globe throughout both this site’s history and their history. Determined to connect with their fans and to find a way within the confines of the pandemic to create a live experience as dynamic as Atlas Vending, the members of the Canadian JOVM mainstays took the stage at Toronto’s Opera House in October 2020 to livestream their latest album in its entirety. Today, the band announced the official release of the live show, Live at the Opera House recorded by longtime collaborator Graham Walsh and mixed by Seth Manchester through all the digital service providers with bundles at Bandcamp and Sub Pop’s Mega Mart that include the full concert film, directed by the band’s longtime video collaborator Scott Cudmore.

There’s also a pre-order for a limited 1,000 piece vinyl pressing on tricolor (Black/White/Oxblood), which also includes a download of the full concert film. The LP can be ordered through megamart.subpop.com, METZ’s merch store, and Bandcamp, and will be available November 5th in select independent retailers in North America.

Now, as may remember I wrote about Live at the Opera House single “A Boat to Drown In,” which was also coincidentally, Atlas Vending’s first official single. While continuing the band’s long-held reputation for crafting enormous, aural assaults centered around layers of distortion pedaled power chords, thunderous drumming mosh pit friendly hooks and chorus, and Eadkins’ howled vocals, “A Boat to Drown In” also finds the trio subtly moving away from their grunge influences with the song possessing an oceanic heft.

“Pulse” is a seething and furious roar, full of the anxious and uncertain dread and that has become a part of our daily lives since the Trump Administration — and has continued through a deadly pandemic that has put most of our lives in disarray. The live footage finds the band delivering a blistering and forceful performance that’s shot with an intimate yet cinematic aplomb.

Perry, GA-born, Athens, GA-based singer/songwriter, multi-instrumentalist and producer Ernest Greene is creative mastermind behind the acclaimed synth pop/chillwave, JOVM mainstay act Washed Out. Started in earnest in 2009, Greene posted material on MySpace, which caught the attention of a nubmer of influential blogs who championed him, while comparing his work to JOVM mainstay Neon Indian and Memory Tapes.

Building upon a rapidly growing profile, Greene released his first two Washed Out EP in August and September 2009. The Perry-born, Athens-based JOVM mainstay supported his early efforts with his first New York area show at the now, long shuttered Santos Party House. He continued upon that momentum with a set at 2010’s Pitchfork Music Festival. And  “Feel It All Around” was chosen for the acclaimed, smash-hit TV series Portlanadia.

In early 2011, Greene signed with Sub Pop Records, who released his critically applauded and commercially successful full-length Within and Without: the album peaked at #26 on Billboard 200 and #89 on the UK Albums Chart. 2013’s sophomore album Paracosm was a radical change in sonic direction that featured a warmer, tropical-inspired sound — but while retaining the ethereal quality of his previously released material. 2017’s third album, the  Cole M.G.N. co-produced Mister Mellow was released through Stone’s Throw Records, and featured a beatmaker-inspired aesthetic.

Greene’s fourth Washed Out album, last year’s Purple Noon was written and recorded by the JOVM mainstay with production following a brief stint of writing with other artists — mostly notable with Sudan Archives on her debut Athena. Those collaborations found their way into Purple Noon‘s material with the album sonically drawing from R&B and modern pop. While arguably being among the brightest and more robust sounding material he’s released to date, the album is also a big leap forward: Greene’s vocals are placed front and center of the entire mix with the production featuring harder hitting beats.

Deriving its name from Rene Clement’s 1960 film Purple Noon, which was based on Patricia Highsmith’s novel The Talented Mister Ripley, Greene’s fourth Washed Out album is inspired by the Mediterranean coastline — with Greene paying tribute to the region’s island-based cultures, elegance and old-world charm. The surroundings serve as a gorgeous backdrop to stories of passion, love, loss and longing. Purple Noon‘s first single “Too Late” can be descried as a bit of a return to form: it’s swooning synth pop featuring skittering beats, glistening bass synth arpeggios, Greene’s lush vocals, a rousingly anthemic hook and a decidedly Caribbean/Mediterranean Island meets Quiet Storm air. Just under the hook-driven, breezy surface, the song is full of desperately aching longing.

Earlier this month, Green released a remix of “Too Late” by Puerto Rican pop duo Buscabulla. Buscabulla ‘s remix retains Greene’s achingly plaintive and lush vocals and pairs them with a funky and blissed out, New Jack Swing-inspired production featuring a strutting bass line, skittering beats and squiggling synths.

Along with the remix, Greene announced that he’ll finally be hitting the road to support Purple Noon during Winter 2022. The tour includes a February 7, 2022 stop at Brooklyn Bowl. The rest of the tour dates are below. And you can check out the following — https://washedout.net/tour for ticket information and more.
 
Mon. Jan. 10 – Asheville, NC  – Orange Peel
Tue. Jan. 11 – Nashville, TN – Brooklyn Bowl           
Thu. Jan. 13 – Houston, TX – Stereo Live
Fri. Jan. 14 – Austin, TX – Empire
Sat. Jan. 15 – Dallas,  TX – The Granada Theatre
Mon. Jan. 17 – Phoenix, AZ – The Van Buren
Tue. Jan. 18 – San Diego, CA – The Observatory               
Thu. Jan. 20 – Los Angeles,  CA – The Wiltern Theatre
Fri. Jan. 21 – Santa Ana, CA – The Observatory
Sat. Jan. 22 – San Francisco, CA – The Regency                 
Mon. Jan. 24 – Portland, OR – Wonder Ballroom
Tue. Jan. 25 – Seattle, WA – Showbox at the Market 
Fri. Jan. 28 – Salt Lake City, UT – Metro Gallery
Sat. Jan. 29 – Denver, CO – The Gothic Theatre      
Mon. Jan. 31 – Minneapolis, MN – USA – Fine Line
Tue. Feb. 01 – Chicago, IL – Metro    
Thu. Feb. 03 – Toronto, ON – The Danforth Theatre
Fri. Feb. 04 – Montreal, QC – L’Astral
Sat. Feb. 05 – Boston, MA – Paradise                        
Mon. Feb. 07 – Brooklyn, NY  – Brooklyn Steel                                 
Wed. Feb. 09 – Washington, DC – 9:30 Club
Thu. Feb. 10 – Philadelphia, PA – Underground Arts
Fri. Feb. 11 –  Chapel Hill, NC  – Cat’s Cradle
Sat. Feb. 12 – Atlanta GA – The Eastern
 

New Video: Low Releases a Gorgeous and Intimate Visual for Yearning “Days Like These”

n 1993, the acclaimed Duluth-based indie act  Low — currently founding members and married couple Alan Sparhawk (guitar, vocals) and Mimi Parker (drums) with Steve Garrington (bass) — are considered pioneers of slowcore, an indie rock sub-genre featuring slowed down tempos and minimalist-leaning arrangements. Despite the fact that the acclaimed indie act has gone through series of lineup changes throughout their history, they’ve consistently disapproved of the slowcore term, eventually shrugging off its strictures altogether while continuing to cement their reputation for a magnetic and powerful stage show centered around Sparhawk’s and Parker’s harmonies and heartbreakingly gorgeous material.

ne of the most uncompromisingly defiant, brazenly abrasive, challenging yet stunning albums of their expansive catalog. The trio worked with Burton on 2015’s Ones and Sixes and as the story goes, they wanted to go further with Burton and his aesthetic, to see what someone who as Sparhawk has described as “a hip-hop guy” could do to push their music in a radically new directions. Instead of obsessively writing, revising and rehearsing in Duluth before heading to the studio, the band went to Eau Claire, WI with rough ideas and sketches for one of the most collaborative writing sessions they’ve ever had with a producer.

During those sessions, they’d build pieces up, break them down and build up them up again until each individual song found its purpose and force. Over the two year writing and recording sessions, the outside world slide deeper into madness and instability — and Double Negative may be a document of our peculiar moment: the material is at times loud, contentious, chaotic and jarring. Sparhawk’s and Parker’s vocals sometimes seem to be desperately fighting against the noise and chaos, other times hidden with it.

The acclaimed Duluth-based act’s 13th album HEY WHAT is slated for a September 10, 2021 release through their longtime label home Sub Pop Records. Continuing their ongoing collaboration with producer BJ Burton for the third time, HEY WHAT reportedly finds the trio focusing on their craft, staying out of the fray and holding fast to their faith to find new ways to express the discord and delight of being a living human being, to turn the duality of our existence into hymns we can share. The album’s ten songs are individually built by their own undeniable hooks — and are turbocharged by the vivid textures surrounding them.

HEY WHAT’s first single “Days Like These” is a perfect example of what we should expect from the album’s overall sound and aesthetic: Disorientating and hushed passages with strummed guitar fight for space between layers of noise and distortion that accrete, build up and fall apart. The messiness is all held together by Sparhawk’s and Parker’s gorgeous yet slightly AutoTuned harmonies, seemingly serving as a lifeline from the shore, thrown to the poor soul drowning in the breakers. But at its core, the song is a yearning plea for meaning and peace in a world that’s completely mad and rarely makes much sense.

Directed by the band’s longtime friend and collaborator, director Karlos Rene Ayala, the recently released video for “Days Like These” is a stylish yet intimate look into the daily life of an older Black man in an extremely White place. While he may be lonely, this gentleman has his dignity, humanity and faith — seen with a Cadillac plastered with Biblical passages and time at a local church.

New Video: Mudhoney Releases “New” Visual for “Ounce of Deception”

Sub Pop Records will be releasing a remastered, 30th anniversary deluxe edition of Mudhoney’s classic second album Every Good Boy Deserves Fudge on July 23, 2021. The expanded release will include the original album in its entirety, a 15-track bonus LP and a CD of additional material with seven previously unreleased songs. The album also includes liner notes from MOJO journalist and Mudhoney biographer (Mudhoney: The Sound and the Fury from Seattle) Keith Cameron, new album cover art, archival band photos and a full-color fold-out poster. And for those record collectors out there, the first run of LPs will be on colored vinyl.

To celebrate the remastered, 30th anniversary deluxe edition of Every Good Boy Deserves Fudge, Sub Pop and the band — currently founding members Mark Arm (vocals, rhythm guitar), Steve Turner (lead guitar) and Guy Maddison (bass), along with Dan Peters (drums) — released a new video for mosh pit friendly ripper “Ounce of Deception,” which was previously released as a B-side to 1991’s “Let It Slide” seven inch — and was also included on 2000’s 52-track compilation of Mudhoney smash hits and rarities March to Fuzz (which is currently only available on CD).

Directed by Duncan Sharp, the recently released video features vintage footage of the band playing life — and it reminds me of the boisterous, chaotic energy of shows that I miss so very much. But soon, right?

Acclaimed  Seattle-based folk/indie rock act The Head and The Heart — currently, founding member Jonathan Russell (vocals, guitar, percussion), Charity Rose Theielen (violin, guitar, vocals, Chris Zasche (bass), Kenny Hensley (keys), Matt Gervais (vocals, guitar) and Tyler Williams (drums) — can trace their origins to a series of open mic nights at Ballard neighbor based bar, Conor Byrne Pub back in 2009: At the time, the band’s Jonathan Russell relocated from Richmond, VA — and Josiah Johnson (vocals, guitar, percussion), who had relocated from Southern California were both relatively recent transplants. Russell and Johnson met Kenny Hensley, who was relocated the previous year to pursue a career in film score writing. Charity Rose Theilen, who returned from a year abroad studying in Paris became the band’s fourth member. Russell knew Tyler Williams from the Richmond music scene: Williams was a member of  Prabir and The Substitutes and he quickly relocated to Seattle after Russell sent him a demo of Down In The Valley.” Chris Zasche was a bartender at the Conor Byrne pub and was a member of Seattle-based bands The Maldives and Grand Hallway before joining The Head and The Heart.

As Johnson explained in press notes the band’s name came from a very relatable situation that many musicians have in which “Your head is telling you to be stable and find a good job, you know in your heart that this [the band] is what you’re supposed to do, even if it’s crazy.”

Since their formation, the Seattle-based folk/indie rock act have released four critically applauded albums — 2010’s self-titled and initially self-released debut (which later caught the attention of Sub Pop Records, who re-issued it), 2013’s Let’s Be Still, 2016’s major label debut Signs of Light and 2019’s Living Mirage. And with each successive release, the band has received greater critical and commercial success while earning a rising profile: They’ve opened for the likes of  Vampire WeekendThe WalkmenDr. DogDave MatthewsThe DecemberistsIron & WineMy Morning JacketDeath Cab for Cutie and Tom Petty and The Heartbreakers among a list of other equally acclaimed acts.

Back in 2017, they played Newport Folk Festival, Coachella, and Lollapalooza, and they added to a milestone year with headlining stops at Red Rocks Amphitheater,  and Central Park SummerStage among a growing list of others.

The band’s latest effort is a lovingly straightforward and gorgeous cover of the Graham Nash-penned Crosby, Stills, Nash & Young hit “Our House,” which appears on the act’s 1970 release Deja Vu. (Admittedly, I’ve somehow just loved the since I was a small. I loved the harmonies — and the melody is an earworm, man.) But most important, The Head and the Heart’s cover is a reminder of two things: Graham Nash is an amazing songwriter and that “Our House” is a pretty song full of longing for the sort of domestic tranquility that’s sadly so very rare. Interestingly, the members of the critically acclaimed Seattle-based act recorded the part of an expansive 50th Anniversary Deluxe Edition of Déjá Vu, which features an additional two hours of rare and previously unreleased audio.

Of course, it shouldn’t be surprising that the members of The Head and The Heart are huge Crosby, Stills, Nash & Young fans — and that the song holds a deep personal meaning for them: “When we first started as a band, we shared a two bedroom apartment where ‘Our House’ was played so much, it became like a mantra of unity and connection to each other, as we discovered what we wanted to do within our music. To say it’s an honor to be asked to cover that very song is an understatement. Happy 50th anniversary to you legends! Déjá Vu Forever!

The single art for the cover serves as a homage to the original Déjá Vu artwork and features an image of the actual house in Seattle that was The Head and The Heart’s early home.

New Video: Homemade Weapons’ Drum ‘n’ Bass Remix of Clipping.’s “Wriggle”

Throughout the course of this site’s 10-plus year history, I’ve managed to spill copious amounts of virtual ink covering the acclaimed Los Angeles-based hip-hop trio and JOVM mainstay act Clipping. The trio — production duo Jonathan Snipes and William Hutson and frontperson Daveed Diggs — have been busy over the past couple of years: they released two critically applauded albums as part of planned diptych — 2019’s There Existed An Addiction to Blood and 2020’s Visions of Bodies Getting Burned — that found the act developing an abrasive and downright messy take on horrorcore, centered around an industrial aesthetic while lovingly twisting familiar genre and sub-genre tropes to fit their politics and thematic concerns: fear, the absurd, the uncanny and the seemingly unending struggle for an antiracist, anti-patriarchal, anti-colonialist world.

But I need to rewind a bit: 2016’s digital-only release Wriggle EP featured six tracks that weren’t finished in time to make it on the JOVM mainstay’s 2014 Sub Pop Records debut CLPPNG. Since its release, the EP has become a fan favorite with tracks like “Wriggle” and “Shooter” becoming staples of their live set. Interestingly, the members of Clipping will release the Wriggle EP as a newly remastered and expanded nine-track set on vinyl for the first time ever on July 9, 2021 — with a 10 track digital version officially dropping today.

The expanded version of Wriggle features the original versions of “Shooter,” “Hot Fuck No Love” feat. Cakes Da Killa and Maxi Wild, and “Our Time” feat. Nailah Middleton, along with “Back Up 2021” featuring SB The Moor and a new verse of industrial rap experimentalist Debby Friday. Additionally, the expanded version features previously remixes by drum ‘n’ bass/breakbeat act Homemade Weapons, Classicworks label co-founder Cardpusher, Dave Quam (formerly known as Massacooramaan) and a vinyl-only version of “Hot Fuck No Love” by footwork producer Jana Rush.

The expanded EP’s latest single is Homemade Weapons’ remix of “Wriggle.” The original was breakneck banger centered around a sample of Whitehouse’s influential power-electronica song “Wriggle Like a Fucking Eel,” skittering, tweeter and woofer rocking beats and Diggs’ dexterous, rapid-fire flow and forceful commands to wriggle like a snake or an eel. The Homemade Weapons remix is a minimalist drum ‘n’ bass take on the song, reducing the song to a chopped up and screwed vocal sample and densely layered staccato beats.

Directed by Cristina Bercovitz and Clipping’s Jonathan Snipes, the recently released video for “Wriggle (Homemade Weapons Remix)” features daytime and nighttime footage on Interstate 110, edited in a way so that the cars more in a glitchy fashion to the propulsive beats.

New Video: JOVM Mainstays Corridor Release a Trippy, Technicolor Visual for “Domino”

Over the past 18 months or so, I’ve spilled copious amounts of virtual ink covering the Montreal-based JOVM mainstay act Corridor. The Montreal-based JOVM mainstays — Dominic Berthiaume (vocals/bass) and Jonathan Robert (vocals/guitar/synths) along with Julian Perreault (guitar), Julien Bakvis (drums) and the band’s newest member Samuel Gougoux — received growing praise from NPR and from Vice, who wrote that 2017’s sophomore album Supermercado was “the best French record of 2017, 2018, 2018, 2019, 2020 2021 and even 2022 . . . ” Building upon a rapidly growing profile, Corridor spent the following year touring across Europe with stops at London Calling Festival and La Villete Sonique Festival, before making their Stateside debut with stops at SXSW and Northside Festival. They capped off a busy year or so, with a sold-out Stateside tour with Crumb.

The French Canadian JOVM mainstays caught the attention of Sub Pop Records, who signed the band, making them the first Francophone act on the label. The band’s third album, last year’s Junior continues their ongoing and successful collaboration with their friend, producer (and occasional roommate) Emmanuel Ethier while finding the Montreal-based quintet jettisoning the languorous creative process of its predecessors — out of an inspired necessity.

Although Corridor had just signed to their new label home, they had developed firm commitment to release a new album every two years — and they intended on fulfilling their commitment. When Sub Pop was informed of the band’s intentions, they gently informed the band that if they wanted to release new material that fall, they had to send the label a completed album in early May. With the ink barely dried on the finalized contract, the members of the band rushed into the studio and record Junior in an inspired and breakneck blitz, finishing the album by mid-April of that year.

Six of he album’s 10 songs were conceived in a single weekend, with the album closer “Bang” written the night before they were going to start recording. Because of the quick nature of the Junior sessions, the album features fewer expansive jams and less reliance on overdubs. “Part of the beauty of the thing is that we didn’t have time to think about it,” the band’s Berthiaume says of the Junior recording sessions.

Album single “Domino” is trippy motork groove-driven guitar anthem that finds the Montreal-based JOVM mainstays drawing from New Zealand jangle pop, early 80s New Wave and krautrock. The song finds the band carefully balancing a deliberate attention to craft with an explosive yet free-flowing jam between friends.

Directed, produced and edited by the band’s Jonathan Robert, and featuring footage from Phillippe Beauséjour, the recently released video for “Domino” is a technicolor fever dream with a retro-futuristic bent that reminds me of DEVO, Kraftwerk, and 3,2,1 Contact for some odd reason. “‘Domino’ illustrates a link between one’s work & mental health as well as its negative impact, in turn, on the people surrounding us,” Jonathan Robert says of the song and the accompanying video. “It, therefore, made sense to film ourselves breaking stuff for this video. I then spent some time with the footage to experiment with the treatment and the editing.”

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.